POPULARITY
2 episodes with Christmas oratorio
3 episodes with Christmas oratorio
4 episodes with Christmas oratorio
2 episodes with Christmas oratorio
2 episodes with Christmas oratorio
2 episodes with Christmas oratorio
2 episodes with Christmas oratorio
2 episodes with Christmas oratorio
2 episodes with Christmas oratorio
Christmas Eve Worship December 24, 2024, from Queen Anne Lutheran Church in Seattle, our 11 PM service—Pastor Dan Peterson; Cantor Kyle Haugen; Choir and String Quartet Pre-service Music: Organ—Lo, How a Rose, Johannes Brahms (1833-1897);Congregational Carol—The First Noel, ELW 300; Choir—Come, Thou Long-Expected Jesus, Kyle S. Haugen (b. 1973); String Quartet—Selections from Christmas Concerto, Arcangelo Corelli (1653–1713), arr. Lynn Latham; Congregational Carol—O Little Town of Bethlehem, ELW 279; Congregational Carol—What Child Is This, ELW 300; String Quartet—Sinfonia from Christmas Oratorio, Johann Sebastian Bach (1685–1750), arr. Dave Prudon • Processional Carol—O Come, All Ye Faithful, ELW 283 • Hymn of Praise—Angels We Have Heard on High , ELW 289 • First Reading—Isaiah 9:2-7 • Second Reading—Titus 2:11-14 • Gospel—Luke 2:1-20 • Sermon "The Gift of Grace"—Pastor Dan Peterson • Hymn—Love Is Come, ELW 292 • Carols at the Distribution—Go, Tell It on the Mountain , ELW 290; It Came Upon the Midnight Clear, ELW 282; Infant Holy, Infant Lowly, ELW 276 • Hymn (candlelight)—Silent Night, Holy Night, ELW 281 • Recessional Hymn—Hark! The Herald Angels Sing, ELW 270 • Postlude—Chorale prelude on IN DULCI JUBILO, BWV 729, J.S. Bach (1685–1750) Link here to view the bulletin. Enjoying our worship recordings? Consider giving a gift to our church; go to this link.
Adding sacred text to original work to reveal a deep love for God. __________ Learn more about gifting your stocks to the Colson Center at colsoncenter.org/faq.
Johann Sebastian Bach - Christmas Oratorio: SinfoniaBudapest Failoni Chamber Orchestra Geza Oberfrank, conductorMore info about today's track: Naxos 8.550428-30Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon
A special holiday music mix just for podcast listeners! Lo, How a Rose E'er Blooming, arranged by Anne Sullivan I Wonder as I Wander, arranged by Anne Sullivan Ave Maria, by Franz Schubert, arranged by Anne Sullivan Sinfonia, from Bach's Christmas Oratorio, arranged by Anne Sullivan Slumber Sweet, a medley of Christmas lullabies arranged by Scott Lavender In Dulci Jubilo, arranged by Anne Sullivan All harp solo selections are from my Break Forth CD.Flute and harp selections are from the SPARX Christmas Echoes CD.All CDs are available for digital download in our online shop. Links to things I think you might be interested in that were mentioned in the podcast episode: Listen to our Harpy Christmas playlist on Spotify featuring music by Anne Sullivan and other harpist performers. Find some great holiday sheet music or a CD in our shop. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-188
Damien Dempsey - Experiences of an Irish R. M. - Bach's Christmas Oratorio
Few musicians have left as profound a mark on their instrument as Friedemann Immer has on the Baroque trumpet. Renowned for his ability to effortlessly tackle some of the most demanding works in the repertoire, Friedemann has recorded Bach's iconic Brandenburg Concerto No. 2 an incredible ten times. In 2021, his contributions were recognized with the Christopher Monk Award from the Historic Brass Society. His career includes performances under legendary conductors and collaborations with esteemed ensembles like the Freiburger Baroqueorchester, Concentus Musicus Wien, and the Academy of Ancient Music in London. But his artistry doesn't stop at the trumpet. Friedemann was the first to record Haydn's Trumpet Concerto on the keyed trumpet, and as the founder and leader of the Trompeten-Consort Friedemann Immer, he continues to push the boundaries of historical performance practice. With over 200 publications through Editions Immer, he's also a driving force in preserving and expanding the repertoire.In Part 1, we begin with a great story about one of his performances of Bach's Brandenburg Concerto No. 2. This leads us into a discussion about the challenges of playing high notes and how the text of a piece informs his interpretation, using the bass aria from Bach's Christmas Oratorio as an example. We then dive into how Friedemann discovers “new” Baroque music, before moving to the topic of the keyed trumpet and his interpretive ideas regarding Haydn's and Hummel's trumpet concertos. The segment concludes with Friedemann sharing his deep admiration for conductor Nikolaus Harnoncourt and what it meant to perform under his baton.Part 2 [Subscriber Content] continues with an exploration of the differences between the Baroque trumpet and the piccolo trumpet, followed by a look at the Brandenburg Concerto No. 2, including stories and concepts that bring the music to life. We then ask Friedemann to reflect on the similarities and differences among some of the legendary conductors he has worked with throughout his career. Finally, we discuss his Editions Immer series, delving into his invaluable contributions to the Baroque repertoire and its performance.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
[@ 2 min] This week, Frederica von Stade, a living legend, takes a Free Throw on the role of the Mother in Dead Man Walking and reveals the heartbreak of being a mother working in opera. [@ 16 min] Then…we go Inside the Huddle with tenor Gwilym Bowen, who is setting his voice to Christmas Oratorio and Messiah mode as we enter into the most magical season of all[@ . [@39 min] Plus, in the ‘Two Minute Drill'…Peter Gelb is jockeying for a cabinet position with a promise to make opera great again. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore
F. Liszt (1811-1886) - Christus, S 3Oratorio in tre parti per soli, coro, organo e orchestraTesto: dalle sacre scritture e dalla liturgia cattolica scelti da Franz Liszt Oratorium in Nativitate Domini / Weihnachts-OratoriumYou can listen to the first part "Christmas Oratorio" on Notturni di Ameria Radio on December 27, 2023Part Two: After Epiphany06. The Beatitudes 07. Pater noster: The Lord's Prayer 08. The Foundation of the Church 09. The Miracle 10. The Entry into Jerusalem Veronika Kincses (Soprano)Klára Takács (Mezzo Soprano)Robert Nágy (Tenor)Sándor Sólyom-Nagy (Baritone)László Polgár (Bass)Hungarian State OrchestraHungarian Radio ChorusNyíregyháza Children's ChorusAntal Doráti, conductor
Merry Christmas to everyone! And what a feast of music we have on this episode of The Liturgical Looking Glass. Here is the playlist below: 1. Jesu Dulcis Memoria, Madelene Compos from the Album Catholic Communion Classics 2. Weihnachts-Oratorium, BWV 248, Pt. 1: Christmas Oratorio, BWV 248, Part I: Jauchzet, frohlocket, auf, preiset die Tage by the Hungarian Radio Chorus 3. Novus Miles Sequitur from the album Medieval Music with Gerald English and The Jaye Consort 4. In You, O Full of Grace - Megalynarion for Liturgy of Saint Basil the Great, composed by Gabriel Creemens, sung by Samuel Herron and Anastaseos Darian of the Dynamis Ensemble 5. Es ist ein Ros Entspungen from Chanticleer on their album Sing We Christmas 6. In Dulci Jubilo by Michael Praetorius 7. Adam Lay yBounden by Peter Warlock and sung by the Queen's Six 8. Jesu Dulcis Memoria sung by the London Oratory Choir 9. Jesu Rex Admirabilis by The Monteverdi Choir and directed by Sir John Eliot Gardiner 10. Alma Redemptoris Mater by Palestrina sung by Lincoln College Choir
SynopsisOn today's date in 1734, the second cantata from the Christmas Oratorio of Johann Sebastian Bach had its first performance in Leipzig, Germany. This cantata takes its inspiration from Luke's Gospel describing shepherd keeping watch over their flocks and opens with a purely instrumental Sinfonia that sets the scene, evoking the sound of the shepherds' rustic pipes.In Bach's day, a famous builder of wind instruments lived in Leipzig. His name was J. H. Eichentopf, and he is credited with inventing an oboe da caccia — that's Italian for "hunting oboe." The instrument was curved with a big brass horn bell at its end. Bach calls for this instrument in his Christmas Oratorio, but after Bach's time, it fell out of use, and knowledge of its exact sound and construction was lost.In the 20th century, two well-preserved (but unplayable) hunting oboes built by Eichentopf survived in museums in Denmark and Sweden, and from their measurements, modern-day copies were made. These were used for the first time in over 200 years for the period-instrument recording of the Christmas Oratorio conducted by Nikolaus Harnoncourt that appeared in 1973.Music Played in Today's ProgramJ.S. Bach (1685-1750) Cantata No. 2 Sinfonia, from The Christmas Oratorio; Vienna Concentus Musicus; Nikolaus Harnoncourt, cond.
DescriptionBach's Christmas Oratorio was a huge hit at the time. But did you know that most of it was cobbled together from previous writings? Take a minute to get the scoop!Fun FactThe Christmas Oratorio is in six parts, each of them being intended for performance on one of the major feast days of the Christmas period. The first part - for Christmas Day - describes the Birth of Jesus, the second - for 26 December - the annunciation to the shepherds, the third - 27 December - the adoration of the shepherds, the fourth - New Year's Day - the circumcision and naming of Jesus, the fifth - for the first Sunday after New Year - the journey of the Magi, and the sixth - for Epiphany - the adoration of the Magi.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.
In the latest episode, we bring you a Christmas treat of not just one but two Cuttings in a sibling special with Guy Cutting (tenor) and Hugh Cutting (countertenor). They touch base in Netty's lair (hotel room) during the Christmas Oratorio tour with Masaaki Suzuki. There are talks of chaotic travelling, funny audience encounters, an unusual request for a Sony Ericsson charger and many more amusing stories.Captivating brothers Guy and Hugh Cutting, who grew up together and are now touring together share their learnings of the voice, family inspirations and the transition from choral to solo singing. They discuss the significance of training to sing at a young age and there are humorous childhood tales of recreating movies at home, such as their two-person version of Harry Potter and moments of sibling mix-ups that many may find relatable. --Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa
Welcome to episode 96 of Holly Jolly X'masu! In this episode, I talk about Bach's “Christmas Oratorio,” performed by the Meiji Gakuin University Glee Club at their 10th anniversary Christmas concert. I really enjoyed working on this episode and getting this album. It's completely out of my comfort zone so it was something of a challenge for me. I'm happy with how it turned out, though, and I hope you enjoyed it as well. Join me back here next week for a real treat. I'll be talking about the 1968 album, “Christmas Song / New Year's Song.” If you like Now Sound music, it will be right up your alley. Then join me on the 18th for Kayo Ishu's wonderful vocal jazz album, “Scat Christmas.” Then listen in on Christmas Day for one of the rarest, wildest Japanese Christmas albums you'll ever hear, and stick around for an equally funky bonus episode on New Year's Eve. As always, any feedback on this episode would be appreciated. If have any suggestions, or if you'd like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. I've also opened a Redbubble store. I only have a couple designs up, but keep an eye on it as I'll be trying to add more. Half of any proceeds or donations received will be donated to support the people of Ukraine, while the rest will be used to purchase new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!
Welcome to episode 95 of Holly Jolly X'masu! In this episode, I talk about Shoji Suzuki's 1961 album, “Swingin' Christmas.” I truly hope you enjoyed this episode. This is one of my favorite albums and played a huge part in my collecting journey. I'd love to say it's the best album in my collection, but I actually have several others that blow it away. I'll be covering one of those on Christmas Day. I mentioned Shoji Suzuki's biggest hit, “Suzukake No Michi,” and I wanted to share a video of it with you. This is from 1987 and features the Rhythm Aces lineup that appeared on this album—Shoji Suzuki on clarinet, Toshio Suzuki on piano, Jimmy Takeuchi on drums, Ryusei Matsuzaki on vibraphone, and Yoichi Kobayashi on bass. I loved finding this and being able to see the entire band performing. Shoji Suzuki and his Rhythm Aces – Suzukake no Michi – 1987 As hard as it is to believe, December is just around the corner, which means I'll have a new episode each week. Throughout the month, I'll be covering some of the best and most interesting albums in my collection. I'll start off with the Meiji Gakuin University Glee Club's 10th anniversary performance of Bach's Christmas Oratorio. After that, I'll cover a really groovy late 60s album, “Christmas Song/New Year's Song.” Then tune in for Kayo Ishu's outstanding vocal jazz album, “Scat Christmas.” I'll close out the year with a pair of extremely rare albums from the early 70s that have to be heard to be believed. As always, any feedback on this episode would be appreciated. If have any suggestions, or if you'd like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. I've also opened a Redbubble store. I only have a couple designs up, but keep an eye on it as I'll be trying to add more. Half of any proceeds or donations received will be donated to support the people of Ukraine, while the rest will be used to purchase new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!
Welcome to episode 94 of Holly Jolly X'masu! In this episode, I talk about Shoji Suzuki's 1963 album, “Merry Christmas.” This is a great album and I can't tell you how excited I was when I first learned that Shoji Suzuki had made another Christmas album. Of the two, “Merry Christmas” seems to be the harder one to come by. I believe I've only seen two copies come up for auction. The first time I saw it, I settled in for a protracted bidding war, but I managed to get it for a reasonable price. The market for Shoji Suzuki records seems to fluctuate with no rhyme or reason. I've seen copies of “Swingin' Christmas go for $30-50, while other copies sit for weeks, being relisted over and over with no buyers. The prices for some records are pretty consistent, but with others it's impossible to tell. I asked one of the guys in Japan about it, and he said he just hopes that when he finds a record he needs, there aren't several other bidders looking for it at the same time. I hope you're enjoying these episodes about Shoji Suzuki. Tune in next week when I talk about his “Swingin' Christmas,” which is one of my all-time favorite albums. Then listen in each week in December as I cover some of the best and most interesting albums in my collection. I'll start off the month with the Meiji Gakuin University Glee Club's 10th anniversary performance of Bach's Christmas Oratorio. After that, I'll cover a really outstanding late 60s album, “Christmas Song/New Year's Song.” If you like Now Sound music, you'll love this album. Then listen in for Kayo Ishu's outstanding “Scat Christmas.” I'll close out the year with a pair of extremely rare albums from the early 70s that have to be heard to be believed. As always, any feedback on this episode would be appreciated. If have any suggestions, or if you'd like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. I've also opened a Redbubble store. I only have a couple designs up, but keep an eye on it as I'll be trying to add more. Half of any proceeds or donations received will be donated to support the people of Ukraine, while the rest will be used to purchase new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!
In this episode, OAE Principal Oboe Katharina Spreckelsen joins Netty for tea and chats. She recalls her first encounters with the oboe at a Christmas Eve Midnight Mass, where she discovered the joy of Bach's chorales in the Christmas Oratorio and the energetic oboe parts. You can catch her performing and experience the same musical delights in our upcoming concerts with Masaaki Suzuki. Also, find out how to fit three cellos, violas, flutes, and a family in one car.Katharina traces her roots back to Germany to studying and launching her career as a baroque oboist in the UK. She reminisces on her involvement in various programming projects such as The Rime of the Ancient Mariner from our previous Songs of Travel season in 2022/23, and the delights of rehearsing with actor and friend, Rory Kinnear. Katharina shares her love for learning and teaching throughout the years which continues to grow.--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa
Welcome to episode 93 of Holly Jolly X'masu! In this episode, I talk about the 1959 compilation, “X'mas All Star Jazz Parade.” This is a great album and I hope you've enjoyed it. This really kicks off my Christmas season, and I have some phenomenal music headed your way. I'll be focusing on Shoji Suzuki the rest of this month. Although Akira Ishikawa sparked my interest in Japanese Christmas music, Shoji Suzuki's music is easily as responsible for turning it into an obsession. Join me next time for his 1963 album, “Merry Christmas,” then listen in on the 25th for his “Swingin' Christmas,” which is one of my absolute favorite albums. Then be sure to listen in each week in December as I cover some of the best and most interesting albums in my collection. I'll start off the month with the Meiji Gakuin University Glee Club's 10th anniversary performance of Bach's Christmas Oratorio. After that, I'll cover a really outstanding late 60s children's album, “Christmas Song/New Year's Song.” Trust me when I say it's one you have to hear. Then listen in for Kayo Ishu's outstanding “Scat Christmas.” I'll close out the year with a pair of albums that have to be heard to be believed. Don't forget to check my show notes for each episode. I'll be posting the covers of the singles associated with that episode's album. This time around, it's Shoji Suzuki's “Blue Christmas” coupled with Motomichi Ito's “Jingle Bells.” As far as I can tell, it's the only single taken from “X'mas All Star Jazz Parade.” As always, any feedback on this episode would be appreciated. If have any suggestions, or if you'd like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. I've also opened a Redbubble store. I only have a couple designs up, but keep an eye on it as I'll be trying to add more. Half of any proceeds or donations received will be donated to support the people of Ukraine, while the rest will be used to purchase new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!
Harvey Brownstone conducts an in-depth interview with David Friedman, Composer, Musical Director, Author, “The Thought Exchange” About Harvey's guest: Today's guest, David Friedman, is a film and theatre composer, songwriter, conductor, author and teacher whose list of accomplishments is truly staggering. After spending several years conducting musicals on Broadway including “Grease”, “Joseph & The Amazing Technicolor Dreamcoat” and “Song and Dance”, he went to Hollywood, where he was the Conductor and Vocal Arranger on many Disney classic films including “Beauty & The Beast”, “Aladdin”, “Pocahontas” and “The Hunchback of Notre Dame”. He wrote music and lyrics for Disney's “Aladdin and the King of Thieves”, and he spent 13 years as Music Supervisor and Vocal Arranger of “Beauty & The Beast” on Broadway. His off-Broadway hit, “Desperate Measures” won the 2018 Drama Desk, Outer Critics' Circle and Off Broadway Alliance Awards. He's also co-written many other highly acclaimed shows, including “Scandalous”, “Chasing Nicolette, which won the Barrymore Award for best score, “Nellie Bly”, and “Money Talks”, as well as his beloved Christmas Oratorio, “King Island Christmas”, which has had over 50 productions around the world, and which won a Frederick Loewe Award and Dramatists Guild Award. And his show entitled, “Listen to my Heart: The Songs of David Friedman”, has also been performed throughout America and globally. He's written numerous classic hit songs, including “Help is on the Way”, “My Simple Christmas Wish” and “Let the Music Play”, all of which have won MAC Awards for Song of the Year. His multi-platinum-selling songs have been performed by everyone from Diana Ross, Barry Manilow and Petula Clark, to Allison Krauss, Laura Branigan, Lainie Kazan – and of course, the magnificent, late, great Nancy LaMott, for whom our guest produced ALL of her albums and DVDs. For 10 years he appeared on the Today Show every month, performing his songs live with some of Broadway's brightest stars. His songs have been used to raise money for charitable organizations, for children's hospitals, Breast Cancer Awareness, and Broadway Cares/Equity Fights AIDS. He's released 2 CD's, entitled “A Different Light” and “Let Me Fly”, in which he sings his own songs. In 1997 he received a Backstage Bistro Award for Composer of the Year AND a Johnny Mercer Award for Songwriter of the Year. And in 2012 he received a Special Lifetime Achievement Award at the MAC Awards. And if ALL OF THAT weren't enough, he's become renowned for his work in metaphysics and human potential exploration, with his #1 best selling book entitled, “The Thought Exchange: Overcoming Our Resistance to Living a Sensational Life”. A new 20th anniversary edition of the book was just released. The book formed the basis for a critically acclaimed documentary film directed by Usher Morgan, called “The Thought Exchange”. Since then, our guest has written 4 more books, entitled, “The Healing Power of Negative Thoughts and Uncomfortable Sensations”, “It's all Inside”, “We Can Be Kind – Healing Our World One Kindness at a Time”, and “Help is on the Way”. And he has TWO more books on the way. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about David Friedman, go to:http://thethoughtexchange.com/https://www.facebook.com/thethoughtexchangehttps://twitter.com/ThoughtExchnge#DavidFriedman #harveybrownstoneinterviews
Brett Weymark is one of Australia's foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach's Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff's Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kats-Chernin, Peter Sculthorpe, Ross Edwards and many others. He has prepared choirs for Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy and Sir Simon Rattle. He has recorded widely for the ABC and conducted film scores, including Happy Feet, Mad Max Fury Road and Australia. Recent highlight performances include Sondheim's Sweeney Todd (West Australian Opera), Paul Stanhope and Steve Hawke's Jandamarra (SSO), Michael Tippett's A Child Of Our Time (Adelaide Festival) and Carousel (State Opera South Australia). In 2001, Brett was awarded an Australian Centenary Medal. In 2021, he was awarded the Medal of the Order of Australia for services to the performing arts through music. Brett is passionate about singing and the role that music plays in both the individual's wellbeing and the overall health and vitality of a community's culture. Music can transform lives and should be accessible to all.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au
A Christmas podcast: with carols, songs, and other things from all over. Various musical presents under this Tannenbaum. Bach, “Grosser Herr, o starker König,” from the Christmas Oratorio Trad., “The First Noël” Trad., “Joy to the World” Rinker & Huddleston, “December” Trad., “O du fröliche” Trad., “Balulalow” Trad., “Everywhere I Go, Somebody Talkin' 'Bout Jesus” Gruber and Mohr, “Silent Night” Tormé & Wells, “The Christmas Song” Trad., “Angels We Have Heard on High” Bach, “Herr, wenn die stolzen Feinde schnauben,” from the Christmas Oratorio
Een kerstaflevering? Gaan we lekker niet doen, dachten Joris en Guido. Wordt knap voorspelbaar en saai, toch? Maar ja, toen de heren eenmaal aan het prakkiseren sloegen, gingen ze door de bocht. Want Stille Nacht, waar komt die oorwurm eigenlijk vandaan? Wie kent de eeuwenoude kerstmuziek van Mallorca? En hoe pakte de beroemde Schotse componist James MacMillan zijn Christmas Oratorio (2019) aan? Luisteren dus, want er duikt ook nog een guilty pleasure op. Iets met zingende knaapjes. En snotteren op kerstavond. Ook dat nog. Gedraaide fragmenten: · Bach, Weihnachts-Oratorium, ‘Jauchzet, frohlocket', Concentus Musicus o.l.v. Nikolaus Harnoncourt · Bach, Weihnachts-Oratorium, Sinfonia, Concentus Musicus o.l.v. Nikolaus Harnoncourt · Franz Gruber, Stille Nacht, arr. Alfred Schnittke, Gidon Kremer (viool), Christoph Eschenbach (piano) · Friedrich Schneider, Christus das Kind, ‘Ehre sei Gott in der Höhe', Sinfonieorchester Wuppertal, Kantorei Barmen Gemarke o.l.v. Alexander Lüken · James MacMillan, Christmas Oratorio, ‘Hodie Christus natus est', London Symphony Orchestra, City of Birmingham Symphony Chorus o.l.v. Mark Elder · Anoniem, El cant de la Sibil·la, Montserrat Figueras, La Capella Reial de Catalunya o.l.v. Jordi Savall · Once in Royal David's City, Choir of King's College Cambridge o.l.v. Daniel Hyde
Jess Gillam dons her Christmas jumper to throw a This Classical Life Christmas Party. She's joined by The King's Singers, a fairy light bedecked studio, several packets of party rings and plenty of good tidings as they all share their favourite Christmas music and talk about their festive traditions. From Nick's love of the 'Daniel Craig of the choral classics' Bach's Christmas Oratorio, to Pat's championing of the backing group in an Ella Fitzgerald Christmas tune. Jess, of course, manages to find a David Bowie track even at Christmas and Johnny shares a Beach Boys hit that encapsulates the Christmases of touring musicians. Playlist: ELLA FITZGERALD: Santa Claus is Coming to Town MORTEN LAURIDSEN: O Magnum mysterium [Chamber Choir of Europe/ Nicol Matt] YAZOO: Only You PROKOFIEV: Lietenant Kijé Suite, op.60 – Troika [Chicago Symphony Orchestra/Claudio Abbado] WIZZARD: I Wish it Could be Christmas Everyday TRAD IRISH: The Wexford Carol [Susannah Vango (sop) Ex Cathedra/Jeffrey Skidmore] DAVID BOWIE/BING CROSBY Peace on Earth/Little Drummer Boy JS BACH: "Herr, wenn die stolzen feinde schnauben" from Christmas Oratorio [Akademie für Alte Musik Berlin, RIAS Kammerchor/René Jacobs] THE BEACH BOYS: God Only Knows
December 11, 2022 | "Christmas Oratorio," by Camille Saint-Saens by Shandon Presbyterian Church
Dr. Christopher Jackson, Music Director & Conductor of the Bach Choir of Bethlehem, speaking about The Christmas Oratorio by Bach, Parts 4, 5 & 6, to be performed by the Bach Choir and the Bach Festival Orchestra and guest soloists, on December 10, 2022, at the First Presbyterian Church of Allentown at 4:00 pm (*note special time) and December 11 at the First Presbyterian Church of Bethlehem at 4:00, with a chance to listen live online at bach.org/ Each concert will close with an invitation to the audience to join in the singing of carols. For more information: www.bach.org/
Holiday Concert Resonet In Laudibus – Resounding Joyful Praises Renaissance and Baroque Holiday Music for Chorus and Brass Some of the most festive music in all eras was written for the Christmas season! Immerse yourself in the rich vocal music on which some today's beloved Christmas Carols are based: popular motets for four to eight voices, such as “In dulci jubilo” (Sweet rejoicing), “O magnum mysterium” (O great mystery), and “Resonet in laudibus” (Resounding joyful praises), and instrumental canzonas and toccatas by Italian and German composer: Praetorius, Gabrieli, Handl, Schein, Bassano, Bonelli, and others. And hear some of the familiar chorals from the Christmas Oratorio by the great Johan Sebastian Bach, an expression of joyful expectation and the celebration of Christ's incarnation – a love story between God and humanity. Saturday, December 10, 2022 at 6 pm St. Paul Church Stockbridge, MA TICKETS Sunday, December 11, 2022 at 4pm Trinity Church, Lakeville, CT TICKETS For the concert on December 10th in Stockbridge, there will be a light show by Joe Wheaton creating a special multi-sensory experience. The outdoor light show will be free to all. In case of bad weather the light show will not take place. St. Paul's church is asking for donations to: Lee Food Pantry, PO Box 335, Lee, MA 01238-0335. The performers are Crescendo Chorus, with solo soprano Jordan Rose Lee, The Berkshire Brass: Peter Bellino and Brian Kanner, trumpets, and David Wampler and William Carr, trombones, conducted by Crescendo's Founding Artistic Director Christine Gevert from the organ. These performances are underwritten by Stephen Ketterer and Ignacio Ramirez of Sharon, CT. Support has also been provided to Crescendo from CT Humanities (CTH), with funding provided by the Connecticut State Department of Economic and Community Development/Connecticut Office of the Arts (COA) from the Connecticut State Legislature.
Libby Crabtree is a freelance musician with a wide range of performing and teaching skills. She specialised as a baroque soprano singing with top London ensembles for 20 years, touring and recording as a solo artist. She is an accomplished choral conductor and currently directs many choral societies and community choirs in Scotland. She runs day workshops, adjudicates music festivals, examines for the Associated Board of the Royal School of Music and has 10 years' experience as Head of Music in an Edinburgh school. You can find out more about Libby's work at libbycrabtree.org.Listen to Libby singing the part of the Angel on The Sixteen's recording of Bach's Christmas Oratorio on Spotify, or try and hear her in the chorus of the Dunedin Consort singing the St Matthew Passion.For more information about Foolproof's work, go to foolproofcreativearts.com or follow us on instagram, twitter or Facebook.
Synopsis As 1999 drew to a close it was a matter of debate whether – chronologically speaking – the new Millennium really began in 2000 or 2001. As far as the musical world was concerned, why wait? The shift from 1999 to 2000 occasioned hundreds of celebratory concerts and special commissions worldwide. While not originally intended as a Millennium commission, a major new work of the American composer John Adams had its European premiere in December of 1999 and its American debut in January of 2000. Years before, the San Francisco Symphony had asked Adams to write a big work for their chorus and orchestra. Then came a request from the Châtelet Theater in Paris for a new opera. Adams combined both requests, folding in a dream of his own. As he put it: “I wanted to write a Messiah.” The result was a Nativity oratorio titled “El Nino” – a work for soloists, chorus and orchestra that could be performed as either a concert hall piece or a fully staged theatrical work. Kent Nagano conducted El Nino's world premiere in Paris on December 15, 1999, and the same cast and conductor gave its American premiere in San Francisco on today's date in 2000. Music Played in Today's Program John Adams (b. 1947) — excerpts from El Niño (soloists; Kent Nagano, cond.) Nonesuch 79634
Some Light in Darkness dlr LexIcon We are thrilled to bring you a series of four of Tim's very special Monday Morning Music sessions. He will introduce music which he has enjoyed during Lockdown – and some Christmas music too. These sessions took place in the Studio Theatre, dlr LexIcon. If you would like further suggestions by Tim, see last year's Darkness to Light booklet featuring Tim's recommendations: https://libraries.dlrcoco.ie/events-and-news/library-news/darkness-light-recommended-listening-tim-thurston dlr Libraries are enormously grateful for the many CD donations Tim Thurston has given to dlr LexIcon for all to borrow and enjoy. Uploaded at dlr LexIcon, Dún Laoghaire on Thursday 16 December 2021. Some Light in Darkness Monday Morning Music with Tim Thurston 13 Dec 2021 Anon. Puer Natus Est. Theatre of Voices – Paul Hillier. Harmonia Mundi HMU807565. John Sheppard. Verbum Caro. Stile Antico. Harmonia Mundi HMU807517. Giovanni Gabrieli. Quem Vidistis Pastores. Gabrieli Consort and Players – Paul McCreesh. DARCHIV 471333=2. Johann Sebastian Bach. Jauchzet – from Christmas Oratorio. Hanover Boys Choir – Jorg Breiding. Rondeau ROP5003 DVD. Francis Poulenc. 4 Motets Pour Le Temps de Noel. Rias Kammerchor – Hans-Christoph Rademann. Harmonia Mundi HMC902170. Anon - Trad. In Dulci Jubilo, Coventry Carol, Gaudete. The Gesualdo Six – Owain Park. Signum Hyperion CDA68299. Harold Darke, Elizabeth Poston. In the Bleak Midwinter, Jesus Christ the Apple Tree. Merton College, Oxford – Benjamin Nicholas. Delphian DCD34192. If anyone has any questions or comments, Tim will be delighted to respond from timthurston1610@gmail.com A Gloria listener has persuaded RTÉ to make available many of past Gloria programmes. They may be found at https://www.rte.ie/radio/lyricfm/gloria/episodes/?page=1
It's a holiday classic that is becoming more popular, especially in the Washington area. Bill Bukowski joins John Banther to explain everything we need to know in this masterpiece. From how it was originally performed, expected audience participation, and how Bach reused old music. Plus, we have some listener mail and a special Classical Breakdown challenge. See omnystudio.com/listener for privacy information.
In the midst of war, the loss of his mother, and the heartbreak of unrequited love, poet W.H. Auden was rediscovering his faith. And the fitting response to the darkness and despair and apathy around him, he thought, was the Christmas event. So he set to work on a Christmas Oratorio called For the Time Being. Originally meant to be performed and sung, what emerged is a much more sobering and stark retelling of the Christmas narrative than you're used to. Auden's modernist poetry becomes a way for a modern humanity—whose resources are spent, whose plans have gone awry, whose hopes have been misplaced, whose sense of time has been unwound—to find redemption amidst the quotidian, the mundane, and the everyday. But also always in an eternally full "moment of decision"—a response to the bare fact of the Incarnation of God in infant Jesus. Evan Rosa is joined by writer Jeff Reimer (Associate Editor, Comment Magazine), who suggests that this modernist retelling of Christmas helps us to diagnose and treat the quintessentially modern vice of acedia, the noonday demon. They discuss the anachronistic cast of characters Auden uses to comment on the human condition. They read and marvel at several passages of the text. And they consider what Auden takes to be the matter of ultimate importance in our experience of Christmas: responding to the audacious claim that God has become human.About Jeff ReimerJeff Reimer is a writer with bylines at Commonweal, Comment, Plough, and Fare Forward. He is Associate Editor for Comment Magazine. Follow Jeff on Twitter @jreimr or check out his website for links to his writing.Show NotesW.H. Auden's For the Time Being (edited with introduction by Alan Jacobs)Read Jeff Reimer's What Comes After: W. H. Auden's cure for the post-Christmas bluesDealing with the Post-Christmas BluesFlipping the feast for the fast in contemporary Christmas cultureW.H. Auden's For the Time BeingDarkness, despair as the context for the Advent apocalyptic setting"Very little Christmas cheer"Auden's context for writing For the Time Being: World War II, the death of his mother, and his re-discovered faithPossibilities for hope and redemptionReason and optimism have run outCentral question of For the Time Being: "What do we do with this singular Christmas event?"Cast of charactersExistentialist influence on AudenThe silence of Christ in the poemStrange characters: Intuition, Sensation, Feeling, and Thought as an expression of the human selfMary and Joseph: Divergent responses to the Angel GabrielMary's humility and magnanimity togetherWhat it's like to be JosephThe temptation of St. JosephRedeeming the mundane and the quotidianAcedia: the quintessentially modern viceCharles Taylor: "Our present condition is one in which many people are happy living for goals which are purely imminent; they live in a way that takes no account of the transcendent.""The Time Being"—ennui, acedia, and depression following ChristmasThe noonday demonSimeon: Auden's intellectual, theological response to the incarnationHerod: Auden's stoic intellectual, politically indifferent, tragic-comic figureStoic virtue: apathea, or "cultivated indifference"The incarnation does not allow for cultivated indifferenceHerod's cultivated indifference ends up becoming outright violent resistance and the massacre of the innocentsThe difficulty of inhabiting a moment the way we're meant toThe way, the truth, the life"Seek him in the Kingdom of Anxiety."Production NotesThis podcast featured writer Jeff ReimerEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Martin Chan, Nathan Jowers, Natalie Lam, and Logan LedmanA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give
Topics: Christmas Traditions: weird, unhealthy, profound? Advents message in our fractured times Roe v. Wade and Mississippi Law A pastor's struggle with political stands Reason for the Season, is there no meaning in anything else? Guest: Rev. Graham Glover Thank you: 1517.org proud member of the 1517 Podcast Network and Concordia Seminary, St. Louis and thejaggedword.com Music: Willing Virginia “Emmanuel” on Spotify, iTunes, SoundCloud Dead Horse One - I love my man Other stuff: For the Time Being a Christmas Oratorio, W. H. Auden
There is so much spectacular classical holiday music, and we've certainly dived into some on this podcast in Decembers past. One such holiday masterpiece which might be less familiar to you is J.S. Bach's Christmas Oratorio. In today's episode, we'll be listening to some beautiful excerpts of this six part work. Link Mentioned in this Episode Busy Kids Do Nutcracker Camp Episode 28: The Life of J.S. Bach Musical Samples You'll Hear in this Episode: Bach: Christmas Oratorio I - 1. Jauchzet, frohlocket - Koopman BWV 248 - Christmas Oratorio - Part 2 of 6 Bach: Christmas Oratorio (Part IV), BWV 248 (Kuijken) BWV 248 - Christmas Oratorio - Part 6 of 6 Music Listening Schedule for Episode 59 I've created a YouTube playlist for you with music from Bach's Christmas Oratorio. Check it out here. Subscribe & Review in iTunes Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in iTunes! If you're feeling extra magnanimous, I would be really grateful if you left a review over on iTunes, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!
Greg Funfgeld, Music Director & Conductor of the Bach Choir of Bethlehem and the Bach Festival Orchestra, speaking about the upcoming performances of The Christmas Oratorio, Parts 1, 2 & 3, by Bach, Saturday, December 11, 2021 at 8 pm at the First Presbyterian Church of Allentown, in person; Sunday, December 12, at 4 pm at the First Presbyterian Church of Bethlehem, in person and live-streamed. The Bach Choir will be joined by 4 guest soloists. www.bach.org/
Bach Christmas Oratorio, BWV 248Sheet MusicJohann Sebastian BachChoir and OrchestraChristmas Oratorio, BWV 248The Christmas Oratorio (Weihnachts-Oratorium) BWV 248, is a piece by J.S. Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell.
Componist, dirigent, katholiek, Schot, socialist, VIP-member van de voetbalclub Celtic (‘Hey, Jimmy, how are ye?', roepen zijn mede-fans) – en dat in willekeurige, want alfabetische volgorde: dat is James MacMillan. In november 2000 brengt Edo de Waart (https://www.npoklassiek.nl/klassiek/alles-over-edo-de-waart/88de5bc5-c012-47fe-8424-57951f63f38a/wie-is-edo-de-waart) voor het eerst een werk van hem in onze serie. In januari 2009 dirigeert MacMillan zélf een Matinee, inmiddels als vaste gastdirigent van de Radio Kamer Filharmonie. En hij blijft vaste gast op onze zaterdagmiddagen. Half januari 2021 nog – helaas kan er geen publiek bij zijn – dirigeert hij de wereldpremière van zijn Christmas Oratorio. Er zijn tienduizenden radioluisteraars – krijg die maar eens in een concertzaal. MacMilllan is een bewonderaar van Louis Andriessen, Keltische volksliedjes en oude religieuze teksten, raakt vol overtuiging volledig verknoopt met de renaissance en de muziek van nu. MacMillan lijkt (minstens) net zo breed georiënteerd als Gustav Mahler (https://www.npoklassiek.nl/componisten/265915ac-ff12-4470-b0f4-26ffd0c6ad57/mahler-gustav), honderd jaar eerder. Hans Haffmans en Kees Vlaardingerbroek herinneren zich vele gelukkige Matinee-momenten met MacMillan. Ontmoetingen met een man die tegelijkertijd oprecht modern, oprecht sociaal bewogen, gelovig en nieuwsgierig is. Vlaardingerbroek hoopt dat hij nog eens een Requiem zal schrijven. Een zekere teneur van het gesprek: we hebben John Adams (https://www.npoklassiek.nl/componisten/580e14ca-cce2-4b55-a38b-d335636fdbec/adams-john) in Amerika, en James MacMillan in West-Europa. Als afsluiting van deze podcast: een relatief vroeg MacMillan-werk (Sinfonietta), de Scottish ballad voor twee piano's en orkest van Benjamin Britten (https://www.npoklassiek.nl/componisten/2306f261-3720-4df9-baf8-8cc87ebcaf39/britten-benjamin) (met de dan nog zeer jonge broers Jussen), en Brittens Les Illuminations, inclusief aanvulling van de hand van Colin Matthews. Soliste: Barbara Hannigan.
Componist, dirigent, katholiek, Schot, socialist, VIP-member van de voetbalclub Celtic (‘Hey, Jimmy, how are ye?', roepen zijn mede-fans) – en dat in willekeurige, want alfabetische volgorde: dat is James MacMillan. In november 2000 brengt Edo de Waart voor het eerst een werk van hem in onze serie. In januari 2009 dirigeert MacMillan zélf een Matinee, inmiddels als vaste gastdirigent van de Radio Kamer Filharmonie. En hij blijft vaste gast op onze zaterdagmiddagen. Half januari 2021 nog – helaas kan er geen publiek bij zijn – dirigeert hij de wereldpremière van zijn Christmas Oratorio. Er zijn tienduizenden radioluisteraars – krijg die maar eens in een concertzaal. MacMilllan is een bewonderaar van Louis Andriessen, Keltische volksliedjes en oude religieuze teksten, raakt vol overtuiging volledig verknoopt met de renaissance en de muziek van nu. MacMillan lijkt (minstens) net zo breed georiënteerd als Gustav Mahler, honderd jaar eerder. Hans Haffmans en Kees Vlaardingerbroek herinneren zich vele gelukkige Matinee-momenten met MacMillan. Ontmoetingen met een man die tegelijkertijd oprecht modern, oprecht sociaal bewogen, gelovig en nieuwsgierig is. Vlaardingerbroek hoopt dat hij nog eens een Requiem zal schrijven. Een zekere teneur van het gesprek: we hebben John Adams in Amerika, en James MacMillan in West-Europa. Als afsluiting van deze podcast: een relatief vroeg MacMillan-werk (Sinfonietta), de Scottish ballad voor twee piano's en orkest van Benjamin Britten (met de dan nog zeer jonge broers Jussen), en Brittes Les Illuminations, inclusief aanvulling van de hand van Colin Matthews. Soliste: Barbara Hannigan.
As we all know, it’s safe for three people to sing hymns in church, but any more than three is absolutely deadly. Those are the rules as set down by the Church of England, and as a result no one in Anglican services (or Catholic ones) will hear the glorious Good Friday Hymn 'O Sacred Head’ tomorrow in the four-part harmony it requires. But if you stick on a CD of Bach’s St Matthew Passion, you'll hear four separate harmonisations of perhaps the most haunting hymn tune ever written. The Cantor of St Thomas’s Leipzig was obsessed with this tune, originally a popular song with excruciating lyrics by the composer Hans Leo Hassler. Bach’s older contemporary Dietrich Buxtehude had fun with it, as did Paul Simon – enchantingly, in his 1974 song ‘America’. This episode of Holy Smoke tells the story of the piece, and reveals some of the miraculous things Bach did with it in his other settings. He has a way of dive-bombing a movement with it that can make you jump out of your seat the first time you hear it. Or, in the case of its guest appearance in the Christmas Oratorio, dance round the room. I hope you enjoy this episode. But be warned: you’ll also hear the podcast host attempting to perform one of Bach’s chorale preludes on the piano in his bedroom. Fortunately it only lasts two minutes, so you just have time to nip out and make a cup of tea.
Bach's Germany was an agrarian society. Just beyond Leipzig's city walls, farmers worked the land to grow crops that sustained its citizens. Some of Bach's music explicitly engages with farming. Its rustic oomph and repetitive motifs call to mind the manual toil of digging. John Eliot Gardiner even described the texture of one Bach cantata as “warm topsoil, fertile and well irrigated”. Yet devotional writings of Bach's time make it clear that farming was something not just done out on the fields. Instead all Lutherans were to be farmers of sorts: they were to plough the “soil” of their hearts so to receive the Word of God and bring it to fruition. The notion that scripture was a type of seed pervaded eighteenth-century thought, and Bach was intimate with this kind of corporeal agricultural. In this episode, violinist and member of Chineke!, Mark Seow explores how the cultivation of Lutheran hearts as if they were farmland urge us to rehear much-loved moments of Bach, including movements from his Christmas Oratorio and the St Matthew Passion.
In deze aflevering is de Schotse componist/dirigent James MacMillan te gast. Wilmar de Visser en Aisling Casey spraken hem in de pauze toen zij met hem de wereldpremière instudeerden van zijn Christmas Oratorio. MacMillan dirigeerde zijn eigen compositie voor de NTR Zaterdag Matinee en hoorde dus voor het eerst wat hij had geschreven.
The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1090/Bach%3A_Christmas_Oratorio.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
How can the Magi of Matthew 2—the Three Wise Men "bearing gifts" and "traversing afar"—help us understand faith and reason, giving and receiving, the nature of God, and how to be human? Drew Collins offers some new perspective on a familiar Christmas story.Introduction and NotesMerry Christmas friends—for this week, we're dropping a double dose of Christmas reflections from the Yale Center for Faith & Culture. We'll be hearing from Matt Croasmun and Drew Collins, both of whom are Associate Research Scholars and lead our Life Worth Living and Christ & Flourishing initiatives, respectively.In this episode, I interview Drew Collins about the Magi of Matthew Chapter 2—these wise men from the east come to pay Jesus homage, but in so doing, they offer for us an outside perspective on the wonder and the weirdness of Christmas. hey've been lauded through centuries of Christian theology for both their reason and their faith, but W.H. Auden's treatment of their intentions in his beautiful Christmas Oratorio, For the Time Being, brings into clearest brightest view why they followed the star, and offers us something to aspire to. Auden gives them the lines:To discover how to be truthful now...To discover how to be living now….To discover how to be loving now...To discover how to be human now …. Is the reason we follow this star.And well, in that sense, we're all magi. Trying to learn how to be human now."Matthew 2:1-12 asks us, in other words, to confront the possibility that those outside of our particular Christian communities might offer us new ways of understanding of who Jesus is, while at the same time revealing new insights into the identities of our non-Christian neighbors.”"The Christian faith affirms that God is a gift giver. We can say more. For God's giving is so radical, so total, that even in God's receiving the gifts we bring, however paltry and imperfect, God is also giving. In receiving the gifts of the Magi, or in affirming our receiving of them on God's behalf, God is giving us hope that our own lives, scruffy and flawed though they might be, might be received by others as giving, like the Magi, greater insight into who Jesus is and might be received and redeemed by God in the coming of God's Kingdom.”
On today’s date in 1734, the second cantata from the “Christmas Oratorio” of Johann Sebastian Bach had its first performance in Leipzig, Germany. This cantata takes its inspiration from Luke’s Gospel describing shepherd keeping watch over their flocks and opens with a purely instrumental Sinfonia that sets the scene, evoking the sound of the shepherds’ rustic pipes. In Bach’s day, a famous builder of wind instruments lived in Leipzig. His name was J. H. Eichentopf, and he is credited with inventing an “oboe da caccia”—that’s Italian for "hunting oboe." This instrument was curved with a big brass horn bell at its end. Bach calls for this instrument in his Christmas Oratorio, but after Bach’s time, it fell out of use, and knowledge of its exact sound and construction was lost. In the 20th century, two well-preserved (but unplayable) “hunting oboes” built by Eichentopf survived in museums in Denmark and Sweden, and from their measurements, modern-day copies were made. These were used for the first time in over 200 years for the period-instrument recording of the Christmas Oratorio conducted by Nikolaus Harnoncourt that appeared in 1973.
On today’s date in 1734, the second cantata from the “Christmas Oratorio” of Johann Sebastian Bach had its first performance in Leipzig, Germany. This cantata takes its inspiration from Luke’s Gospel describing shepherd keeping watch over their flocks and opens with a purely instrumental Sinfonia that sets the scene, evoking the sound of the shepherds’ rustic pipes. In Bach’s day, a famous builder of wind instruments lived in Leipzig. His name was J. H. Eichentopf, and he is credited with inventing an “oboe da caccia”—that’s Italian for "hunting oboe." This instrument was curved with a big brass horn bell at its end. Bach calls for this instrument in his Christmas Oratorio, but after Bach’s time, it fell out of use, and knowledge of its exact sound and construction was lost. In the 20th century, two well-preserved (but unplayable) “hunting oboes” built by Eichentopf survived in museums in Denmark and Sweden, and from their measurements, modern-day copies were made. These were used for the first time in over 200 years for the period-instrument recording of the Christmas Oratorio conducted by Nikolaus Harnoncourt that appeared in 1973.
Nicholas Kenyon recommends recordings of Bach's Christmas Oratorio, BWV 248
In the final episode of 2020, Carl finds himself back where he started - at J. S. Bach, and has chosen his vibrant opening chorus to the Christmas Oratorio. Insta: @classicalmusic_theinsta, Email: classicalmusicstories@gmail.com
The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1090/Bach%3A_Christmas_Oratorio.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
Es wird weihnachtlich bei Barock@home, dem Podcast der Internationalen Bachakademie Stuttgart mit Lesung, Musik und Gespräch. Akademieleiter Hans-Christoph Rademann und Chefdramaturg Henning Bey sprechen über J.S. Bachs Weihnachtsoratorium. Dazu erklingen Ausschnitte der Einspielung des Werks von der Gaechinger Cantorey und Hans-Christoph Rademann bei Carus und stimmungsvolle Texte, rezitiert von Stefan-Müller Ruppert. Den Podcast Barock@home findet Ihr auch auf https://www.bachakademie.de und als Audioformat auf Spotify, Apple Podcasts und überall, wo es Podcasts gibt. Abonniert den Kanal, um keine weitere Episode zu verpassen! It's getting Christmassy at Barock@home, the podcast of the International Bach Academy Stuttgart which combines conversation, reading and music. Hans-Christoph Rademann, Director at the International Bach Academie Stuttgart, and Chief Dramaturge Henning Bey discuss J.S. Bach's Christmas Oratorio. In between you will be able to listen to a recording of this majestic work by the Gaechinger Cantorey and Hans-Christoph Rademann, together with poetic texts recited by Stefan-Müller Ruppert. Künstler: Regula Mühlemann, Anna Lucia Richter, Wiebke Lehmkuhl, Sebastian Kohlhepp, Michael Nagy, Gaechinger Cantorey, Hans-Christoph Rademann Musikbespiele: CD-Einspielung beim Carus-Verlag, 2017, EAN 4009350833128 Notenbeispiele: Staatsbibliothek zu Berlin – PK, Musikabteilung mit Mendelssohn-Archiv Produktion: Bildmanufaktur GmbH
This podcast features an interview with tenor James Gilchrist, in which we discuss a variety of topics relating to being a singer: - psychology of performance, particularly, in somewhere like the Wigmore Hall where he was singing that evening. - the way audiences might perceive song recitals, and what performers can do to engage them regarding such perceptions. - the balance between what artists do on stage to communicate with their audience, e.g., how much is moving around or maintaining eye contact? - interpretation of narrative in lieder repertoire. - the challenges and privileges of being a medical doctor (which James initially started as), and making the transition to becoming a full-time professional performer. - comparing the experience of music college versus university. Many thanks to James for coming especially to London in the morning to record, as well as Tamsin Raitt and the staff at Wigmore Hall for arrangements for the interview! Podcast published on 13th February 2020; recorded on 8th February 2020 in the Gerald Moore Room, Wigmore Hall, London. James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge. James’ extensive concert repertoire has seen him perform in major concert halls throughout the world. Bach’s Christmas Oratorio and the St John and Matthew Passions feature prominently in his schedule, and he is celebrated as perhaps the finest Evangelist of his generation. Recent engagements include Elijah in Goteborgs Symfoniker and Masaaki Suzuki, Handel’s Messiah with the Handel & Haydn Society in Boston, with Bernard Labadie, and Beethoven’s Missa Solemnis with Singapore Symphony Orchestra. In the 2019-20 season appearances include the role of Rev. Horace Adams Peter Grimes with Bergen Philharmonic Orchestra conducted by Edward Gardner in London and Norway, St Matthew Passion with City of Birmingham Symphony Orchestra conducted by Richard Egarr, and a tour of Europe with Bach Collegium Japan and Masaaki Suzuki. Listen and subscribe to the Talking Classical Podcast on SoundCloud, iTunes and Spotify. SoundCloud – @talkingclassicalpodcast Facebook – @talkingclassicalpodcast Twitter – @tc_podcasts YouTube - https://bit.ly/2WF4duy Blog – talkingclassicalpodcast.wordpress.com
In our final episode for Spring 2019, we have a wide-ranging conversation with Dr. Daniel R. Melamed, Professor of Musicology at Indiana University, about his latest book, Listening to Bach: The Mass in B Minor and the Christmas Oratorio. Click here to hear a previous Notes on Bach interview with Dr. Melamed about his book Hearing Bach’s Passions.
DAVID FRIEDMAN David Friedman, composer of the award-winning hit musical, Desperate Measures, (Drama Desk for Music and Lyrics/Outer Critics and Off Broadway Alliance Awards for Best Musical) is one of this country's most beloved songwriters, best known for writing songs that touch our hearts and speak to our souls. He has written songs for everyone from Disney to Diana Ross, produced all of the late/great Nancy LaMott's CD's and wrote many of her best known songs, (Listen To My Heart/We Can Be Kind/We Live on Borrowed Time/I'll Be Here With You/Just in Time For Christmas), conducted and vocal arranged 6 musicals on Broadway and numerous Disney Animated Films (including Beauty & The Beast, Aladdin, Pocahontas and The Hunchback of Notre Dame) wrote songs for The Lizzie McGuire Movie, Aladdin and the King of Thieves, Bambi II and Trick, scored 3 television series, performed his revue Listen To My Heart – The Songs of David Friedman to audiences Off Broadway, all over America and abroad, and is currently in his 10th year of co-writing (with Kathie Lee Gifford) and performing a song-a-month for the Today Show's Everyone Has a Story Segment. (This month will be his hundredth song.) In addition to Desperate Measures, David has written 4 other musicals with Peter Kellogg: Chasing Nicolette played to rave reviews at The Westport Country Playhouse, the Prince theater in Philadelphia (where David was awarded the Barrymore Award for best score) and Village Theatre in Seattle, and recently had a backer's presentation in New York with John Rando directing; Stunt Girl, about the life of Nellie Bly, the first woman investigative reporter in New York and the first woman to run a major corporation, was seen in a critically acclaimed production at the Village Theater in Seattle, which was followed by a staged reading at Manhattan Theatre Club in New York. (After seeing this reading, Gloria Steinem called it, “Altogether, the strongest female story I've ever seen on Broadway -- or pretty much anywhere”); Money Talks, a four-character musical that follows the path of a $100 bill as it passes from person to person, with Benjamin Franklin playing the $100 bill, was presented at the Davenport Theatre last year; and Lincoln in Love, a musical about Abe Lincoln's early years, was presented at Goodspeed. David's Christmas Oratorio, King Island Christmas, written with Deborah Brevoort, has had over 50 productions around the world. David is also a best-selling author with 5 books including We Can Be Kind - Healing Our World One Kindness at a Time, based on his song of the same name. (Currently in its Fifth printing.) His three books on his Metaphysical Method, The Thought Exchange, explore how to not only choose the thoughts we wish to hold, but how to stay with them and see them manifest in our lives. He is a sought after speaker, lecturer and teacher around the country. For more information, go to www.MIDDERMusic.com. LINKS Davids Website: www.MIDDERMusic.com We Can Be Kind - book and song https://www.amazon.com/We-Can-Be-Kind-Kindness/dp/1633536750 Nancy LaMott singing We Can Be Kind: https://www.youtube.com/watch?v=49m0--Wsk6E Koga (animated children's series): https://www.youtube.com/watch?v=VvmrHk_ih2E The Mindful Musician Podcast: www.mattoestreicher.com
DAVID FRIEDMAN David Friedman, composer of the award-winning hit musical, Desperate Measures, (Drama Desk for Music and Lyrics/Outer Critics and Off Broadway Alliance Awards for Best Musical) is one of this country's most beloved songwriters, best known for writing songs that touch our hearts and speak to our souls. He has written songs for everyone from Disney to Diana Ross, produced all of the late/great Nancy LaMott's CD's and wrote many of her best known songs, (Listen To My Heart/We Can Be Kind/We Live on Borrowed Time/I'll Be Here With You/Just in Time For Christmas), conducted and vocal arranged 6 musicals on Broadway and numerous Disney Animated Films (including Beauty & The Beast, Aladdin, Pocahontas and The Hunchback of Notre Dame) wrote songs for The Lizzie McGuire Movie, Aladdin and the King of Thieves, Bambi II and Trick, scored 3 television series, performed his revue Listen To My Heart – The Songs of David Friedman to audiences Off Broadway, all over America and abroad, and is currently in his 10th year of co-writing (with Kathie Lee Gifford) and performing a song-a-month for the Today Show's Everyone Has a Story Segment. (This month will be his hundredth song.) In addition to Desperate Measures, David has written 4 other musicals with Peter Kellogg: Chasing Nicolette played to rave reviews at The Westport Country Playhouse, the Prince theater in Philadelphia (where David was awarded the Barrymore Award for best score) and Village Theatre in Seattle, and recently had a backer's presentation in New York with John Rando directing; Stunt Girl, about the life of Nellie Bly, the first woman investigative reporter in New York and the first woman to run a major corporation, was seen in a critically acclaimed production at the Village Theater in Seattle, which was followed by a staged reading at Manhattan Theatre Club in New York. (After seeing this reading, Gloria Steinem called it, “Altogether, the strongest female story I've ever seen on Broadway -- or pretty much anywhere”); Money Talks, a four-character musical that follows the path of a $100 bill as it passes from person to person, with Benjamin Franklin playing the $100 bill, was presented at the Davenport Theatre last year; and Lincoln in Love, a musical about Abe Lincoln's early years, was presented at Goodspeed. David's Christmas Oratorio, King Island Christmas, written with Deborah Brevoort, has had over 50 productions around the world. David is also a best-selling author with 5 books including We Can Be Kind - Healing Our World One Kindness at a Time, based on his song of the same name. (Currently in its Fifth printing.) His three books on his Metaphysical Method, The Thought Exchange, explore how to not only choose the thoughts we wish to hold, but how to stay with them and see them manifest in our lives. He is a sought after speaker, lecturer and teacher around the country. For more information, go to www.MIDDERMusic.com. LINKS Davids Website: www.MIDDERMusic.com We Can Be Kind - book and song https://www.amazon.com/We-Can-Be-Kind-Kindness/dp/1633536750 Nancy LaMott singing We Can Be Kind: https://www.youtube.com/watch?v=49m0--Wsk6E Koga (animated children's series): https://www.youtube.com/watch?v=VvmrHk_ih2E The Mindful Musician Podcast: www.mattoestreicher.com
Strap on your helmets because this coffee break comes on strong with timpani. Mr. Somers takes on a trip through the styles of timpani dynamics, including Bach's Christmas Oratorio, Beethoven's Violin Concerto and Symphony #9, as well as pieces from Haydn and Schuman. And we also discuss how the timps took over the parts written for the third trumpets. Those brass players can't get no respect. contact the show at yccb@mauriceriverpress.com Your Classical Coffee Break is partially sponsored by CAS Music. Contact Chris Orazi for all your recording needs. https://casmusic.com/
O último EntreCampos do ano tem como convidado João de Pina-Cabral, atualmente professor de antropologia na universidade de Kent, no Reino Unido. Em plena época festiva, falamos de presépios e de como e porquê não os conseguimos encontrar em todas as partes do mundo. Cruzando histórias familiares, João de Pina-Cabral explica como o imaginário para o qual o presépio nos remete representa “a relação de poder que está na base das instituições básicas do mundo moderno ocidental”. Do autor destacamos o seu último livro “World: An Anthropological Examination”. Paisagens Sonoras: [0’23’’ a 1’04’’]: Sounds of Changes: Christmas sounds – humming Jingle Bells - Sounds of Christmas in shopping centre, Ljubljana, Slovenia. On 13th of December our team recorded what does Christmas shopping sounds like. Amongst many sounds and soundscapes this is the most amusing one: after finding out that the recordings are connected to Christmas, a curious shopper started to hum “Jingle Bells”. Sound recording: Dušan Oblak. [2’00’’ a 2’50’’ e 36’50’’ a 38’00’’]: Christmas Oratorio, BWV 248: Cantata for the Second Day of Christmas - Stuttgart Radio Symphony Orchestra, Garcia Navarro. [20’40’’ a 21’40’’]: God Is with Us (Prophecy Of Isaiah) - The Russian Patriarchate Choir, Anatoly Grindenko. Equipa EntreCampos: Coordenação - Filipe Reis Textos e Apresentação - Afonso Bento e Ana Rita Costa Direção Técnica - Décio Telo Produção e Comunicação - Mafalda Melo Sousa e Ana Lúcia Fonseca Música Original – Vicente Valentim Design Gráfico - Sara Bento de Castro Produção e Apoios: Laboratório Audiovisual do CRIA - polo do ISCTE-IUL, Centro em Rede de Investigação em Antropologia (CRIA), Fundação para a Ciência e Tecnologia (FCT).
Thomas and Richard convene for a special Christmas episode, where they discuss everything from A Choral Christmas Celebration to the towns of New Zealand, taking in the great cling-wrap controversy along the way.Music in this episode:William G. James, The silver stars are in the sky (excerpt) [0:00]John Rutter, The Shepherds’ Pipe Carol (excerpt) [7:53]J.S. Bach, ‘Jauchzet frohlocket’ from Christmas Oratorio [45:39]
We'll look at the final three sections of Bach's Christmas Oratorio, BWV 248.
We'll look at the first three sections of Bach's Christmas Oratorio, BWV 248
On Christmas Day, Chris brought us excerpts of Bach’s Christmas Oratorio to celebrate Christmas. Parts of cantatas one and two are played. Here is a podcast of one hour of the special Christmas Day Songs of Hope
On Christmas Day, Chris brought us excerpts of Bach’s Christmas Oratorio to celebrate Christmas. Parts of cantatas one and two are played. Here is a podcast of one hour of the special Christmas Day Songs of Hope
La música clásica navideña para escuchar con toda tu familia. Los niños conocerán obras que nos recuerdan el nacimiento de Jesús así como aquellas que nos hacen imaginar paseos en trineo. Un episodio ideal para esta Nochebuena. ¡Feliz Navidad! Notas del episodio: allegromagico.com/11 Episodio 7: Händel y su Música Acuática [00:31] Cantata No.147, ‘Herz und Mund und Tat und Leben’, BWV 147 : Jesu, Joy of Man’s Desiring - J.S.Bach [01:45] Messiah, Pt.I, no.12: “For unto us a child is born”- George Frideric Händel [06:50] Christmas Oratorio, BWV248, Pt.3, For the 3rd Day of Christmas No. 26, No.28, No.33 - Johann Sebastian Bach [09:24] Stille Nacht, heilige Nacht - Franz Xaver Gruber [11:24] Joy to the World - Isaac Watts [16:08] Adeste Fideles - John Francis Wade [19:47] Carol of the Bells - Mykola Leontovych [22:00] Lieutenant Kijé, Op.60: IV. Troika - Sergei Prokófiev [25:13] Sleigh Ride - Leroy Anderson
Broadcaster Sandy Burnett presents an in-depth account of JS Bach's Christmas Oratorio, ahead of the AAM's complete performance of the work at London's Barbican Hall. Recorded live at the Fountain Room, Barbican Center, on 22 December 2015.
Lucie Skeaping introduces music written for this day by J.S. Bach - music composed for the 27th December, the Third Day of Christmas and the First Sunday after Christmas - including the six-voice Santus composed for the Christmas service in 1724, during second year of Bach's tenure in Leipzig, which eventually became part of the B minor Mass; music from the Christmas Oratorio; and Cantatas BWV 122, Das neugeborne Kindelein (The new-born little babe), and BWV 133, Ich freue mich in dir (I find my joy in thee).
The Christmas Oratorio:The Cradle or the CrossSeries: Learners' Exchange 2015 Speaker: Jason CheungLearners' ExchangeDate: 25th January 2015
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
Bernard Labadie discusses Bach's "Christmas Oratorio," explaining that while Bach wrote for people, he truly wrote for God. He saw it as his duty to maximize his God-given talent "to create new worlds."
Can you guess this piece? Here's a hint: Preaching to the choir!
Can you guess this piece? Here’s a hint: Preaching to the choir!
A scholar’s gloomy study with a desk cluttered with writings and surrounded by shelves of books***Music excerpt is Christmas Oratorio, BWV 248: Chorale No. 35, "Seid Froh Dieweil, Daß euer Heil"Sung by the Prima Choir
Can you guess this piece? Here's a hint: Tidings of great joy.
Can you guess this piece? Here’s a hint: Tidings of great joy.
Maestro Classical podcast: episode 7, a holiday celebration feat. Tchaikovsky and J.S. Bach. 1. The London Symphony Orchestra "Nutcracker Ballet Suite: Waltz Of The Flowers" (mp3) from "Tchaikovsky: Nutcracker Suite / 1812 Overture" (Everest Records) Pyotr Ilyich Tchaikovsky was a Russian composer of the Romantic era. While not part of the nationalistic music group known as "The Five", Tchaikovsky wrote music which, in the opinion of Harold C. Schonberg, was distinctly Russian: plangent, introspective, with modally-inflected melody and harmony. Despite the compositional efforts of The Five, Tchaikovsky dominates 19th century Russian music as its greatest talent. While his formal conservatory training instilled in him Western-oriented attitudes and techniques, his essential nature, as he always insisted, remained Russian. This was true both in his use of actual folk song and his deep absorption in Russian life and ways of thought. His natural gifts, especially for melody (what he called the "lyrical idea"), give his music a permanent appeal. However, it was his hard-won though secure and professional technique, plus his ability to use it for the expression of his emotional life, which allowed him to realize his potential more fully than any of his major Russian contemporaries. The Nutcracker is one of Tchaikovsky's best known works. While it has been criticized as the least substantial of the composer's three ballets, it should be remembered that Tchaikovsky was restricted by a rigorous scenario supplied by Marius Petipa. This scenario provided no opportunity for the expression of human feelings beyond the most trivial and confined Tchaikovsky mostly within a world of tinsel, sweets and fantasy. Yet, at its best, the melodies are charming and pretty, and by this time Tchaikovsky's virtuosity at orchestration and counterpoint ensured an endless fascination in the surface attractiveness of the score. The Nutcracker, Op. 71, is a fairy tale-ballet in two acts, three scenes, by Pyotr Ilyich Tchaikovsky, composed in 1891–92. Alexandre Dumas père's adaptation of the story "The Nutcracker and the Mouse King" by E.T.A. Hoffmann was set to music by Tchaikovsky (written by Marius Petipa and commissioned by the director of the Imperial Theatres Ivan Vsevolozhsky in 1891). In Western countries, this ballet has become perhaps the most popular ballet, performed primarily around Christmas time. The composer made a selection of eight of the more popular numbers from the ballet before the ballet's December 1892 premiere, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer's direction, on 19 March 1892 at an assembly of the St. Petersburg branch of the Musical Society[1]. The suite became instantly popular; the complete ballet did not achieve its great popularity until around the mid-1960s. Among other things, the score of The Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda (premiered 1891).^ Although well-known in The Nutcracker as the featured solo instrument in the "Dance of the Sugar Plum Fairy" from Act II, it is employed elsewhere in the same act. Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album 2. The London Symphony Orchestra "Nutcracker Ballet Suite: Dance Of The Sugar Plum Fairy" (mp3) from "Tchaikovsky: Nutcracker Suite / 1812 Overture" (Everest Records) More On This Album 3. Boston Bach Ensemble "Chorus: Jauchzet, frohlocket" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) The greatest musical setting of the Christmas story, compiled by Johann Sebastian Bach in 1734. Based on the Gospel of St. Luke, the text describes the nativity of Jesus and is adorned by some of Bach's most colourful and beautiful music. In modern performance, the piece is generally either presented as a whole, or split into two equal sections. The total running time for the entire work is nearly three hours. Scored for an Evangelist, four vocal soloists, four part chorus and full baroque orchestra, including trumpets, timpani and horns, the Christmas Oratorio is among Bach's best-loved works. The Boston Bach Ensemble was founded in 1992 by Julian Wachner and Peter Watchorn, and performed principally at Boston University. It has performed cantatas, oratorios and masses by J. S. Bach, and features a choir of twenty young professional singers and a period instrument orchestra comprising some of the leading specialist musicians from the US, Canada, Australia and Europe. In 1998 the BBE recorded a celebrated live performance of Bach's Christmas Oratorio, which featured distinguished vocal soloists, including the celebrated Dutch baritone, Max van Egmond. Buy at iTunes Music Store Buy at eMusic Stream from Rhapsody Buy at Amazon MP3 More On This Album 4. Boston Bach Ensemble "Recitative: Es begab sich aber" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) More On This Album 5. Boston Bach Ensemble "Recitative: Nun wird mein liebster Bräutigam" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) More On This Album
Christmas Oratorio performed by the Chancel Choir and Orchestra of First United Methodist Church of Evanston, IL
This week Sue's castaway is a man who's made a success of two entirely different careers. Ralph Kohn is a Jewish businessman who has won the Queen's Export Award for his work in the pharmaceutical industry and he's also a renowned Baritone singer .Originally born into a privileged family in Leipzig, Germany, his family moved to Amsterdam in response to the anti-Semitic laws passed in Hitler's Germany in the 1930s. The Kohns finally settled in Manchester and Ralph excelled at school, eventually choosing to study pharmaceuticals at university, encouraged by the major drug developments of the 1950s. As a doctoral student, he met Alexander Fleming and went on to work with two Nobel prize winners in Italy. It was in Rome that Ralph's love of singing flourished; learning under the renowed teacher Manlio Marcantoni, who introduced him to the great Opera tenor Gigli. In the 1960s and 1970s Ralph worked for numerous major pharmaceutical companies including Smith Kline French and Robapharm before setting up his own company Advisory Services Clinical Ltd in 1969. In music he's appeared at the Wigmore Hall, The Queen Elizabeth and Albert Halls and John Smith Square as well as producing twelve CDs.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: The Sinfonia from Christmas Oratorio by Johann Sebastian Bach Book: The complete works by Bach Luxury: A magic flute
This week Sue's castaway is a man who's made a success of two entirely different careers. Ralph Kohn is a Jewish businessman who has won the Queen's Export Award for his work in the pharmaceutical industry and he's also a renowned Baritone singer . Originally born into a privileged family in Leipzig, Germany, his family moved to Amsterdam in response to the anti-Semitic laws passed in Hitler's Germany in the 1930s. The Kohns finally settled in Manchester and Ralph excelled at school, eventually choosing to study pharmaceuticals at university, encouraged by the major drug developments of the 1950s. As a doctoral student, he met Alexander Fleming and went on to work with two Nobel prize winners in Italy. It was in Rome that Ralph's love of singing flourished; learning under the renowed teacher Manlio Marcantoni, who introduced him to the great Opera tenor Gigli. In the 1960s and 1970s Ralph worked for numerous major pharmaceutical companies including Smith Kline French and Robapharm before setting up his own company Advisory Services Clinical Ltd in 1969. In music he's appeared at the Wigmore Hall, The Queen Elizabeth and Albert Halls and John Smith Square as well as producing twelve CDs. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: The Sinfonia from Christmas Oratorio by Johann Sebastian Bach Book: The complete works by Bach Luxury: A magic flute
© 2020-2025 Ivy Podcast Discovery LLC
