Podcasts about js bach

Johann Sebastian Bach (1685 - 1750) - Concerto per Oboe, violino, archi e b.c. in do minore BWV 1060R1.      Allegro2.      Adagio 5:313.      Allegro 10:10Netherlands Bach Society Emma Black, oboe Shunske Sato, violino e direzione

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

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

Welkom op de derde maandag van januari, die in deze eeuw is omgedoopt tot Blue Monday. Hoe voelt die voor jou? Deze week draaien we in Kalm met Klassiek componisten die zich lieten inspireren door duisternis. Gelukkig gloort er juist in hun muziek vaak licht aan het eind van de tunnel. Vandaag hoor je een beeldschoon werk van Bach in een arrangement voor vijf cello's.  Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Musicians Corner, interview met en favoriete muziek met een Nederlandse muzikant; vandaag componist, rietblazer en bandleider Maarten Ornstein Speellijst: Ray Charles, Let the good times roll Guillaume de Machault, Ensemble Musica Nova, Se quanque amours puet donner à Amy DASH!  Maarten Ornstein, Alex Oele, Eric Hoeke; Scipio Ton Koopman,JS Bach – Goldberg Variaties Aria da […]

Johann Sebastian Bach (1685-1750) – Cantata “Singet dem Herrn ein neues Lied”, BWV 190 00:00 1.Chœur - Singet dem Herrn ein neues Lied04:19 2. Choral et Récitatif (Alto, Ténor, Basse) - Herr Gott, dich loben wir06:02 3. Aria (Alto) - Lobe, Zion, deinen Gott08:35 4. Récitatif (Basse) - Es wünsche sich die Welt09:58 5. Aria (Ténor, Basse) - Jesus soll mein alles sein13:04 6. Récitatif (Ténor) - Nun, Jesus gebe14:44 7. Choral - Laß uns das Jahr vollbringen Elisabeth Von Magnus, altoPaul Agnew, tenoreKlaus Mertens, bassoAmsterdam Baroque Orchestra & ChoirTon Koopman, conductor

Johann Sebastian Bach (1685 - 1750) - Pastorella (Pastorale) in fa maggiore, BWV 590 1.      Alla Siciliana 2.      Allemande (2:42)3.      Aria (4:38)4.      Alla Gigue (7:28) Karl Richter, organo

Pour changer du format de podcast habituel et fêter la Nativité (youhouuuu), aujourd'hui on vous propose tout simplement d'écouter 3 lectures : la lecture du récit de la Nativité dans l'évangile de Luc… et deux sublimes poèmes du 4e siècle.Et comme d'habitude, on soupoudre tout ça avec un peu de musique ! Cette fois-ci c'est signé Andrea Bocelli, Frank Sinatra, Boney M, JS Bach et un groupe irlandais bien connu qui s'écrit en une lettre et un chiffre. C'est tout.Et entre guirlandes colorées, bûches au chocolat et cantiques de "Gloria" en latin dans le texte... Toute l'équipe de notre association PRIXM-BERNARDINS vous souhaite un très JOYEUX NOËL !!!Bonne écoute !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Folge 298: Mit der G-Dur-Messe schließt Bach seine vierteilige Serie der Kyrie-Gloria-Messen ab, Maul & Schrammek sinnieren heute darüber, was eigentlich seine Beweggründe für diese Meisterwerke gewesen sein könnten

Folge 297: Bach war keineswegs ein einsamer lutherischer Messenkomponist, sondern die Mode war weit verbreitet. In der g-Moll-Messe gibt es wiederum vollendete Parodietechnik zu bewundern.

Que signifie « Magnificat », le titre du dernier album de Vald ? À quoi cette expression latine fait-elle référence ? Pourquoi on parle aussi de « cantique de Marie » ? Quel est le lien entre le cantique de Marie et le cantique d'Anne, dans l'Ancien Testament ?Réponse avec une cohorte de compositeurs et musiciens, à commencer par Vald, JS Bach, Vivaldi, Monteverdi et Georges Brassens ! Autant dire que ça va danser sec entre deux interstices d'analyse théologiques !!Bonus : on parlera aussi de Paul Claudel...Si vous le souhaitez, on vous invite à nous faire part de tous vos retours en commentaire de cet épisode, ou bien directement à notre adresse : contact@prixm.orgPRIXM est un média associatif, gratuit, indépendant et sans publicité. Notre association PRIXM-Bernardins repose exclusivement sur les dons de ses abonnés et mécènes. Pour nous soutenir, c'est ici : https://don.fondationnotredame.fr/prixm-bernardins-1-1Pour retrouver tous nos articles et s'abonner à notre pétillante newsletter hebdo, c'est là : https://www.prixm.org/articlesUn immense merci... et bonne écoute !!!Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Folge 296: Die Messe A-Dur nehmen Maul & Schrammek zum Anlass, etwas genauer in die Parodiewerkstatt von Bach zu blicken. Sämtliche Vorlagen sind sehr weitsichtig gewählt und wurden zum Teil kräftig umgearbeitet.

Johann Sebastian Bach hatte ein feines Gespür für die technischen Möglichkeiten und das klangliche Potential der Traversflöte - ein Instrument, das sich mehr und mehr etablierte und das Bach in seiner Leipziger Zeit immer häufiger anstelle der Blockflöte einsetzte. Die h-Moll-Flötensonate BWV 1030 komponierte Bach vermutlich um 1736–1737. Sie ist die längste und komplexeste von Bachs Flötensonaten und gilt als Höhepunkt seiner Auseinandersetzung mit dem Instrument. Anders als die meisten seiner anderen Flötensonaten ist BWV 1030 keine Triosonate mit Generalbass, sondern eine Sonate für zwei gleichberechtigte Partner: Flöte und Cembalo treten in einen engen Dialog, wechseln sich in Themenführung und virtuosen Passagen ab und schaffen so eine dichte musikalische Struktur. In der Diskothek werden sechs unterschiedliche Aufnahmen der Flötensonate BWV 1030 von J.S. Bach verglichen. Gäste von Eva Oertle sind der Flötist Marco Brolli und die Cembalistin Urte Lucht.

Ecrites pour le clavecin mais jouées également au piano, les variations Goldberg de Bach ont fait l'objet de diverses transcriptions, dont une fameuse pour trio à cordes. Celle que nous proposent Thibaut Garcia et Antoine Morinière, pour deux guitares, est inédite et apporte ainsi un autre éclairage à ce vaste cycle. Mais un éclairage qui nous paraît si évident tant ces deux musiciens ont su y apporter une fraicheur et une profondeur absolument saisissantes. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Johann Sebastian Bach (1685 - 1750) - Sonata n. 1 in si minore per violino e clavicembalo, BWV 10141.      Adagio 2.      Allegro 3:233.      Andante 6:204.      Allegro 9:16 Bojan Čičić, violino Steven Devine, clavicembalo

Pianist Simone Dinnerstein has many loves – her family, her hometown, her musical collaborators, and Johann Sebastian Bach's music, to name just a few. The proud Brooklyn resident founded her musical ensemble and called it BAROKLYN. They named their 2025 debut album Complicité, a term she first heard from her son, who studied the teachings of the French theatre practitioner, Jacques Lecoq. Suzanne spoke with Simone Dinnerstein about Complicité, how the concept relates to the album and her group, and how she feels about being a conductor now.

Pomegranate Health has been streaming since June 2015, so we're going to share a few more classic eps from the last ten years. First up, presenter Mic Cavazzini digs deep to find the origins of the pomegranate, featured not just on this podcast but on the crest of the RACP. The journey starts 500 years ago at an unlikely place, the marriage of Henry VIII and the first of his six wives. You'll find much of the pageantry reproduced at the web page. We then hear from the wonderful staff at Marrabinya, a support service in western NSW that helps connect Aboriginal patients to specialist consultations. As heard in episode 53, and a handful of others, healthy equity for First Nations people is a value embedded in the mission of the RACP. At Pomegranate Health we also try to support physician wellbeing and career development. One podcast towards that end was Episode 55: Starting out in Private Practice. We hear a pep talk from veteran rheumatologist Louis McGuigan about when and how to back yourself in such a business venture. Another episode with a practical theme was number 56 titled “Billing in Byzantium” where we heard how it is that a few billion dollars are inappropriately leaked from Medicare every year. Finally, in a sample from Episode 69. we hear about some of the structural bias in the health system that results in a gendered understanding of drug effects. All of these episodes and more, are now available on YouTube, as well as all the usual podcast browsing apps. Sampled in this retrospective episode: Desley Mason, Possum Swinton and Kym Lees from Ep53: Marrabinya Dr Louis McGuigan from Ep55: Starting out in private practice Margaret Faux PhD from  Ep56: Billing in ByzantiumProfessor Zoe Wainer from Ep69: Gendered Medicine 2- Funding and Research Production CreditsProduced by Mic Cavazzini DPhil. Music licenced from Epidemic Sound includes ‘Fair Game' by Mizlo, ‘Salat Alsabah' by Feras Charestan, ‘Your Wave' by Cospe, ‘Dusty Delta Day' by Lennon Hutton, ‘Corn Candy' by Guustavv and ‘After the Freak Show' by Luella Gren. Music courtesy of FreeMusicArchive includes JS Bach's ‘March Fur Die Arche' performed by The United States Army Old Guard Fife and Drum Corps and ‘Notre Dame' by Jahzarr. Allegri's ‘Miserere' performed by Trinity College under Creative Commons licence from archive.org.  Editorial feedback kindly provided by RACP staff Kathryn Smith, Arnika Martus and Ruby Nelson.  Please visit the Pomegranate Health web page for a transcript and supporting references.Login to MyCPD to record listening and reading as a prefilled learning activity. Subscribe to 

It's Bach Week! Is J.S. Bach considered a "Fifth Evangelist"? Dr. Martin Dicke (former LCMS missionary, Member of Board of Directors for David's Harp, Composer of settings for Hymns of the Reformation from David's Harp) joins Andy and Sarah to talk about how Bach has influenced his life and work, formative experiences as a musician and missionary where Bach played a role in his love of music, where the phrase “the fifth evangelist” began as a description of J.S. Bach, how Bach approached scripture and who influenced his understanding and handling of the Word of God, and how his understanding of scripture is apparent in his compositions. Learn more about David's Harp at davidsharpmusic.org, including the Hymns for the Reformation at davidsharpmusic.org/product/hymns-of-the-reformation-occasional-series. Find all Bach Week episodes at kfuo.org/tag/bach-week. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

Emőke Baráth Maarten Enjelides Conductor (of some): György Vashegyi Locations and dates: ? https://parterre.com/2025/07/02/an-old-fashioned-girl/

In this week's episode, Daniel Ketter presents an essential voice analysis arrangement of J. S. Bach's fugue for solo cello. It traces the composer's solution to weaving a four-part fugal texture with nearly no chords or double stops through inventive combinations of a subject and countersubject.This episode was produced by Jason Jedlicka along with Team Lead Leah Frederick. Special thanks to peer reviewers Gilad Rabinovitch, Ed Klorman, and Joe Straus. Additional thanks to Jason Orr, Jessie Black, and Royce Diamond at Phosphor Studios.SMT-Pod's theme music was written by Maria Tartaglia, with closing music by Yike Zhang. For supplementary materials on this episode and more information on our authors and composers, check out our website: https://smt-pod.org/episodes/

Johann Sebastian Bach is one of the great composers of all time. What stands out is not only how great his music is, but how much of it he wrote. On this episode we look at his story as well as his habits, strategies, and tactics to see how he left such a lasting impact. 00:00 The Impact of Bach's Music 01:30 Introduction to Johann Sebastian Bach 03:30 Bach's Universal Appeal and Religious Devotion 07:45 Bach's Early Life and Musical Dynasty 09:30 Bach's Mischievous Youth and Early Career 18:00 Bach's Passion for Music and Conflict with Authority 35:45 Bach's Move and Pursuit of Greatness 41:00 Bach's Idyllic Time in Weimar 49:115 Bach's Final Years in Leipzig 55:20 The Famous Encounter with Frederick the Great 01:09:00 Bach's Death and Enduring Legacy 01:10:00 Key Takeaways from Bach's Life ---- Sponsors: TakeoverPod.Supercast.com - All premium content for just $7/month AustinLab.AI - Provides advanced AI tools for businesses of any size GainsInBulk.com/ben - Use code Ben for 20% off instantized creatine and more Speechify.com/ben - Use code Ben for 15% off Speechify premium Founders Podcast

«Dies Werk machte zu seinerzeit in der musikalischen Welt grosses Aufsehen: Man hatte noch nie so vortreffliche Klavierkompositionen gesehen und gehört. Wer einige Stücke daraus recht gut vortragen lernte, konnte sein Glück in der Welt damit machen.» Das schrieb 1802 der erste Bach-Biograph, Nikolaus Forke, über Bachs ersten Teil der «Clavierübung», also die sechs Partiten Opus 1. Und seither haben unzählige Pianistinnen und Pianisten ihr Glück damit gemacht: Es gibt so viele Einspielungen, dass es schwierig ist, eine Auswahl zu treffen, gerade auch, weil die Wahl des Tasteninstrumentes nicht eindeutig ist. Soll man die Partiten historisch korrekt auf einem Cembalo oder gar Clavichord spielen? Oder auf einem sogenannten Tangentenflügel, einem Modell, das erst nach Bach entstand, so wie der Pianist Martin Helmchen es macht? Oder klingts doch schöner auf dem modernen Flügel? In der Diskothek über die erste der sechs Partiten diskutiert Annelis Berger mit dem Pianisten Francesco Tristano und der Organistin und Cembalistin Els Biesemans darüber. Und vergleichen fünf Aufnahmen miteinander.

durée : 00:18:36 - Disques de légende du jeudi 08 mai 2025 - En 1993 paraissait " l'Intégrale des suites françaises " de JS Bach Keith Jarrett chez ECM, un disque enregistré en 1991 qui livre une facette inattendue du pianiste.

Johann and Phineas Guitar perfomance by Phineas Stolyavitch Drawing by Rupert Peene

Vandaag een aflevering in de serie "In Stukken". Die Kunst der Fuge van Johann Sebastian Bach wordt in stukken geknipt. Aan de hand van de fragmenten in de mooiste opnames wordt het stuk onder de loep genomen. Panelleden: fagottist Alban Wesly en klavecinist Tineke Steenbrink.

Vlad makes an early-morning weekday appearance to tell Marty about celebrating JS Bach's birthday with Early Music Day, Week and Month!

In today's podcast, I focus on  examples of loss of liberty.  The first is JS Bach being imprisoned for having the effrontery of asking his employer to let him go so he could seek a more lucrative employment elsewhere.  It's shocking that one of the world's greatest musicians was considered to be property.  Of course NO ONE should be considered to be property!  A friend of his, a mere horn player, was hung for a similar infraction.120 years later, Chopin spent a honeymoon on the island of Majorca with his new wife, George Sand.  Both of them were combining a honeymoon with holding good on promises to publishers—she on a book in progress and he on a collection of 24 preludes.  They spent several months living in a scary monastery high in the mountains partly because Chopin was suffering from TB, which the locals interpreted as an example of how sin leads to disease, the result being a loss of liberty for Chopin and Sand.The third example of loss of liberty deals with how cacao symbolized power in the four Central American societies—of the Olmecs, the Toltecs, the Mayans and the Aztecs.  Later, when Cortez brought cacao back to Spain, it came to symbolize power there as well with a loss of liberty for the Jewish doctors living in Bayonne, France, where they established cacao as an important local industry.  During the Industrial Revolution, cacao became an important foodstuff for factory workers and in order to provide it, the colonial powers forced West Africans to provide them with inexpensive beans.  The result was the use of child labor, five forms of which are described.I start the podcast with Bach's Prelude number 8 in E-Flat Minor and I finish with Chopin's Prelude #14 in the same key.  Bach's prelude was written in a prison cell.  Chopin's was written in a monastery cell.  Both are examples of a loss of liberty.As always, we are looking to help African cocoa farmers become African chocolate makers.  Join the revolution by donating to the cause!1.   Go to www.projecthopeandfairness.org and click on the Donate button.     -OR- 2.  Send a check to: Donations, PH&F, 1298 Warren Road, Cambria, CA 93428. Write to me at tom@projecthopeandfairness.orgTo learn more, visit www.projecthopeandfairness.org

South African guitar virtuoso Derek Gripper plays music originally meant for the 21 stringed lute-harp, the kora, on his 6-string Segovia-styled guitar and does it so well that the world's leading guitarists and kora players keep wondering how one even does that. His original music is informed by kora masters Toumani Diabaté, Salif Keita, Estonian minimalist composer Arvo Part, Brazilian guitarist Egberto Gismonti and German Baroque innovator, J.S. Bach. Watch out, because he's about to collaborate with the Iraqi-American oud player and composer Rahim Alhaj. (Ed. note: just wait until the 11 or 13-strings of the oud and those maqams make it to the 6-string guitar in Gripper's hands!) For now, Gripper plays another unbelievable arrangement of a Malian kora song, as well as an original song informed by the cascading style of kora music, plus some of the second cello suite by J.S. Bach, in-studio. - Caryn HavlikSupplemental Reading: The Beauty of Everyday Things, In Search of Lost TimeSet list: 1. Alla L'a Ke 2. Moss on the Mountain 3. J.S. Bach: Prelude BWV 1008 (Second Cello Suite) BALLAKÉ SISSOKO AND DEREK GRIPPER by Ballaké Sissoko and Derek Gripper Everyday Things: Bach's Second Cello Suite BWV 1008 by Derek Gripper

WETA resident cello player James Jacobs joins John Banther for a deep dive into the 6 iconic cello suites by JS Bach. With cello in hand, James demonstrates different aspects of the suites and shows us what to listen for, plus we enjoy a full recording performance of one of the suites at the end!Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

Jesu Joy.mp3: – Click To Play I first learned this tune from Pete Seeger’s “Goofing Off Suite” in the mid 1950s. Years later when it was time to make up a Rickenbacker introduction for Bob Dylan’s “Mr. Tambourine Man” I used a few notes from this J.S. Bach piece which happen to match part of … Continue reading "Jesu Joy Of Man’s Desiring By J. S. Bach"

durée : 00:10:45 - Le Disque classique du jour du vendredi 15 novembre 2024 - Pour son premier album de violoncelle solo sur la New Series d'ECM, Anja Lechner se consacre à une convergence particulièrement unique de trois compositeurs issus de contextes très différents : JS Bach, Carl Friedrich Abel et Tobias Hume.

durée : 00:10:45 - Le Disque classique du jour du vendredi 15 novembre 2024 - Pour son premier album de violoncelle solo sur la New Series d'ECM, Anja Lechner se consacre à une convergence particulièrement unique de trois compositeurs issus de contextes très différents : JS Bach, Carl Friedrich Abel et Tobias Hume.

durée : 00:12:04 - Le Disque classique du jour du lundi 04 novembre 2024 - Après son album Beethoven acclamé par la critique, Nemanja Radulović revient cet automne avec un formidable album JS Bach.

durée : 00:12:04 - Le Disque classique du jour du lundi 04 novembre 2024 - Après son album Beethoven acclamé par la critique, Nemanja Radulović revient cet automne avec un formidable album JS Bach.

Behind the sublime precision and expressive power of Bach's music lies a mischievous spirit. From puzzle canons (where the performer must solve a riddle to reach the score), melodies that run upside-down and backwards against themselves, hidden symbols, endless loops, to the embedding of numbers and names into the music, this lecture explores Bach's ingenious trickery. Unravelling this thread, enhances an appreciation – and sense of humanity and playfulness – to his transcendent music.This lecture was recorded by Milton Mermikides on 23rd October 2024 at LSO St Lukes, London.Milton Mermikides  is Gresham Professor of Music.He is Associate Professor in Music at the University of Surrey, Professor of Guitar at the Royal College of Music and Deputy Director of the International Guitar Research Centre.The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/bachs-inventionGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport the show

durée : 00:15:35 - Mass in B Minor : J. S. Bach - La Cetra Basel - La Cetra de Bâle a 25 ans ! Pour fêter cet anniversaire, La Cetra et Arcana publient un enregistrement de « la plus grande œuvre d'art musical de tous les temps », comme elle fut qualifiée au XIXe siècle : la Messe en si mineur de Bach.

American classical pianist and educator Christopher O'Riley has spent his career gleefully ignoring musical boundaries and playing whatever turned him on. In addition to playing Beethoven, Busoni, Ravel, Scriabin, and Liszt, he's also arranged music by Nick Drake, Nirvana, Elliot Smith, and Radiohead; he leads masterclasses covering nearly every aspect of piano playing and repertoire from 1600 to 2020. Christopher O'Riley's latest album is of J.S. Bach's Well Tempered Clavier, done in a distinctly personal, even idiosyncratic style. He presents his years-long study of the Preludes & Fugues by Bach and a recent arrangement of a classic popular song, in-studio. Set list: 1. Bach: Prelude & Fugue #1 in C major, BWV 846 2. Bach: Prelude & Fugue #4 in C# minor, BWV 849 3."Over the Rainbow"

Johann Sebastian Bach — whom the Lutheran church commemorates on July 28 — was not a Lutheran lady ... but his two wives sure were!  In this Story Time episode, Sarah introduces us to the two wives of J.S. Bach: Maria Barbara Bach (1684–1720) and Anna Magdalena Bach (1701–1760). Between them, these faithful, capable Lutheran women bore Bach 20 children (ten of whom lived to adulthood; four of whom grew up to be composers like their father) and supported the composer throughout the long and fruitful years of his illustrious musical career.  For further reading:   https://www.grahamsmusic.net/post/bach-s-wives-and-children  https://en.wikipedia.org/wiki/Maria_Barbara_Bach   https://en.wikipedia.org/wiki/Anna_Magdalena_Bach  https://www.bach-cantatas.com/Lib/Bach-Maria-Barbara.htm   https://www.bach-cantatas.com/Lib/Bach-Anna-Magdalena.htm   https://www.classicfm.com/composers/bach/news/magdalena-cello-suites-goldberg-variations/   A helpful guide to Bach's many children:  https://www.classicfm.com/composers/bach/guides/children/  And just for fun (for anyone surprised to find that Barbara is a German name):  Barbaras Rhubarb Bar (feat. Marti Fischer) (youtube.com)  Connect with the Lutheran Ladies on social media in The Lutheran Ladies' Lounge Facebook discussion group (facebook.com/groups/LutheranLadiesLounge) and on Instagram @lutheranladieslounge. Follow Sarah (@hymnnerd), Rachel (@rachbomberger), and Erin (@erinaltered) on Instagram! Sign up for the Lutheran Ladies' Lounge monthly e-newsletter here, and email the Ladies at lutheranladies@kfuo.org.

In How to Become Famous: Lost Einsteins, Forgotten Superstars, and How the Beatles Came to Be, Cass Sunstein reveals why some individuals become celebrities—and others don't.Sunstein has long been at the forefront of behavioral economics. He is the Robert Walmsley University Professor at Harvard Law School and served as the administrator of the White House Office of Information and Regulatory Affairs in the Obama administration. He has authored numerous best sellers, such as Nudge and The World According to Star Wars. In his new book, he explores the roles played by skill, luck, and social processes in the achievement of fame and success—based on recent research on informational cascades, reputation cascades, network effects, and group polarization.Together with Martin Reeves, Chairman of the BCG Henderson Institute, Sunstein discusses how a better understanding of these mechanisms can help businesses make better decisions in marketing, talent management, and innovation - and why the greatest composer of all time may not be J S Bach, but rather Taylor Swift.Key topics discussed: 03:18 | How to prove whether or not fame is driven by merit06:08 | The importance of quality and skill to fame09:33 | Enduring vs. transient fame11:36 | The greatest composers of all time: Bach vs. Taylor Swift14:44 | Social factors driving fame19:54 | The role of group polarization and network effects28:48 | Implications for businesses: Marketing, talent, innovation33:19 | The art of manipulating information cascadesAdditional inspirations from Cass Sunstein:Thinkers & Ideas: Look Again with Cass SunsteinLook Again: The Power of Noticing What Was Always There; with Tali Sharot (Atria/One Signal Publishers, 2024)Nudge; with Richard Thaler (Penguin Books,...

To mark Bach's 339th birthday, historical recordings of the Brandenburg Concerto 3 and the B Minor Prelude and Fugue from the Well Tempered Clavier. 

Wir springen in dieser Folge in die Barockzeit und sprechen über niemand Geringeren als Johann Sebastian Bach. Allerdings werden wir uns weniger mit seinem musikalischen Output, sondern mehr mit seinen Lebensumständen beschäftigen. Wie und wo lebte er, wer bezahlte ihm seine Rechnungen und welchen Einfluss hatte das auf sein Werk? //Erwähnte Folgen GAG364: Mord und Madrigale – Carlo Gesualdo https://gadg.fm/364 //Literatur - "Johann Sebastian Bach" von Martin Geck " - "Johann Sebastian Bach: The Learned Musician" von Christoph Wolff - "BACH: Music in the CASTLE of HEAVEN" von John Eliot Gardiner - Kalendarium des Bach-Archivs Leipzig https://jsbach.de/kalendarium Das gegen Ende erwähnte "Erbarme dich, mein Gott" aus der Matthäuspassion BWV244 gibt's in einer schönen Version mit dem Countertenor Tim Mead auf YouTube anzuhören: https://www.youtube.com/watch?v=Zry9dpM1_n4 Das Folgenbild zeigt einen Ausschnitt des wahrscheinlich einzig echten Porträts Bachs, von Elias Gottlob Haussmann, aus dem Jahr 1746. Das Hörbeispiel der Toccata und Fuge in D-Moll BWV565 wurde von "Cor anglais 16" unter einer Creative Commons Attribution-Share Alike 3.0 Unported Lizenz zur Verfügung gestellt. https://commons.wikimedia.org/wiki/File:BWV-565-intro.ogg //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt!