Podcasts about singet

Mit dieser Bravourmotette von Bach beenden Maul & Schrammek die Betrachtung aller Vokalwerke von Bach. Fortsetzung folgt im „Bach-Kanal,“ wo wir weiter neue Lieder singen werden.

Singet dem HERRN ein neues Lied; singet dem HERRN, alle Welt! Psalm 96,1 Die Jünger lobten Gott und sprachen: Gelobt sei, der da kommt, der König, in dem Namen des Herrn! Friede sei im Himmel und Ehre in der Höhe! Lukas 19,38 Autorin: Hollmann

Das Losungswort und der Lehrtext der Herrnhuter Brüdergemeine:Singet dem HERRN ein neues Lied; singet dem HERRN, alle Welt!Psalm 96,1Die Jünger lobten Gott und sprachen: Gelobt sei, der da kommt, der König, in dem Namen des Herrn! Friede sei im Himmel und Ehre in der Höhe!Lukas 19,38Titel der Andacht: "Ursache und Wirkung"Nachzulesen in nah-am-leben.de

Bei der Kellen, Ralf www.deutschlandfunkkultur.de, Religionen

Das Losungswort und der Lehrtext der Herrnhuter Brüdergemeine:Singet dem HERRN ein neues Lied, denn er tut Wunder.Psalm 98,1Von seiner Fülle haben wir alle genommen Gnade um Gnade.Johannes 1,16Titel der Andacht: "Musik"Nachzulesen in nah-am-leben.de

Singet dem HERRN ein neues Lied, denn er tut Wunder. Psalm 98,1 Von seiner Fülle haben wir alle genommen Gnade um Gnade. Johannes 1,16 Autorin: Gisela Wichern

ERF Gottesdienst mit Dekan Rainer Köpf aus der ev. Stiftskirche in Backnang.

ERF Gottesdienst mit Dekan Rainer Köpf aus der ev. Stiftskirche in Backnang.

Putanginang init to! Yun lang pakinggan niyo na lang.

Mit dieser Folge stimmen wir uns ein auf den Sonntag "Cantate" am 28.04.2024 (10Uhr Theodorskirche, Basel). In diesem Gottesdienst findet die Verabschiedung von Pfarrer Tobias Dietrich aus seinem Dienst in unserer Kirchgemeinde statt und er sagt auch hier auf dem Podcast-Kanal "Adieu". Alle Lieder des Gottesdienstes wurden in diesem Podcast zum "Einstimmen und mehrstimmigen Üben" eingesungen (Noten zum Mitsingen bis Ende April hier): Lobe den Herren (ab Min 4:18) Singet dem Herrn ein neues Lied (ab Min 7:52) -> Hintergrund-Infos dazu finden Sie hier Lass uns den Weg der Gerechtigkeit gehen (ab Min 11:20) -> Hintergrund-Infos dazu finden Sie hier Von guten Mächten wunderbar geborgen (ab Min 15:22) -> Hintergrund-Infos dazu finden Sie hier

Jednym z wielu mitów historii muzyki jest to, że po śmierci Bacha jego muzyka została całkowicie zapomniana na blisko 80 lat, a następnie cudownie wskrzeszona dzięki wykonaniu „Pasji Mateuszowej” w Berlinie w 1829 roku pod kierunkiem Felixa Mendelssohna. Mit ten, choć zawiera ziarno prawdy, nie opisuje rzeczywistości. Powstał zaś dlatego, że świadomość przeszłych pokoleń często oceniamy własną miarą – dla nas jest oczywiste, że Bach był wielkim twórcą i należy grać jego muzykę. Jemu współcześni nie zawsze byli tego zdania. To, co znali, oceniali krytycznie przez pryzmat nowego stylu klasycznego. Co więcej, nie było wówczas w zwyczaju wykonywanie muzyki przeszłości. I jeszcze jedno – dla wielu Bachowskich dzieł nie było odpowiedniego formatu publicznych koncertów. Jak więc doszło do tego, że bogata żydowska rodzina z Berlina przechowała arcydzieło luterańskiej muzyki, i jak doszło do jego powtórnego wykonania ponad 100 lat po premierze w Lipsku? Jak to się sstało, że Bach dzisiaj należy do kanonu? O tym wszystkim opowiadam w nowym odcinku. Zapraszam bardzo serdecznie! Podcast powstał dzięki Mecenasom Szafy Melomana. Jeśli chcesz stać się jednym z nich i wspierać pierwszy polski podcast o muzyce klasycznej, odwiedź mój profil w serwisie Patronite.pl. Muzyka w odcinku: 1. J.S. Bach, „Canzona d-moll” BWV 588, wyk. James Kibbie (nagranie własne JK). 2. J.S. Bach, preludium chorałowe „Von deiner Thron” BWV 668, wyk. James Kibbie (nagranie własne JK). 3. Carl Heinrich Graun, „Sinfonia C-dur”, wyk. Concerto Brandenburg. 4. J.S. Bach, „Singet dem Herrn ein neues Lied” BWV 225, wyk. Sing-Akademie Tsukuba (2000). 5. J.S. Bach, „Kommt ihr Tochter, helft mir klagen” z „Pasji Mateuszowej” BWV 244, wyk. Orkiestra i Chór Gewandhausu w Lipsku, chór kościoła św. Tomasza, Günther Ramin (dyr.), 1941. 6. J.S. Bach, „Wir setzen uns mit Tränen nieder” z „Pasji Mateuszowej” BWV 244, transkr. na fortepian Salmer Bagge, wyk. Rushi Sun. Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.(odcinki w styczniu i lutym stanowią jeszcze realizację stypendium, w ramach którego byłem zobowiązany do nagrania 50 audycji)

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

Am Beginn dieser festlichen Michaelis-Kantate steht nicht eine Darstellung des Kampfes zwischen Michael und dem Drachen, sondern die ausgelassene Siegesfeier. Und Engel spielen natürlich auch eine große Rolle.

Doug Noll is an award-winning author, teacher, trainer, and highly experienced mediator. His work carries him from international work to helping people resolve deep interpersonal and ideological conflicts to training life inmates to be peacemakers and mediators in maximum-security prisons. His fourth book, De-Escalate: How to Calm an Angry Person in 90 Seconds or Less was published by Beyond Word Publishing in September 2017. De-Escalate is now in four languages and in its second printing. He is the co-founder of Prison of Peace, and creator of the De-Escalate Emotional People (DEEP) skills.During the episode, we discuss:attributes of an emotionally competent personthe difference between emotional intelligence and emotional competencede-escalating an angry person in 90 secondswhy we are 98% emotional and only 2% rationalwhy emotional invalidation is the first deadly sinGet in touch after the interview:LinkedIn: https://www.linkedin.com/in/dougnoll/Facebook: https://www.facebook.com/DouglasNoll/Twitter: https://twitter.com/dougnollYouTube: https://www.youtube.com/user/douglasnollWebsite: https://dougnoll.com/Podcast Agent Email: deen@podcastconnection.orgGet Doug's book on Amazon today: “De-Escalate: How to Calm an Angry Person in 90 Seconds or Less” https://www.amazon.com/Escalate-Calm-Angry-Person-Seconds/dp/1582706557Doug is also offering a free one-hour spot on his new project called Difficult Conversations With Doug which will be live-streamed on YouTube. This will be made available to any two of your listeners who may be avoiding difficult, yet crucial, conversations. You can find out more about this freebie here

Satan's tool belt of lies is diverse. At times he tries to lure us into sin by waxing a shine on forbidden fruit. Other times he tries to keep us in sin by making us believe that God's arm is too short to save and His ear too heavy to hear. He doesn't care about how he snares us. The only thing that matters to him is that we end up tightly bound in a web of deception.Want training on lie-detecting? Get it here: The lies of sinGet training of fighting sin by reading Joe's book Surviving the Trenches - available in paperback, audio, and ebook.

Das Losungswort und der Lehrtext der Herrnhuter Brüdergemeine:Singet dem HERRN, rühmet den HERRN, der des Armen Leben aus den Händen der Boshaften errettet!Jeremia 20,13Maria sprach: Meine Seele erhebt den Herrn, und mein Geist freuet sich Gottes, meines Heilandes; denn er hat die Niedrigkeit seiner Magd angesehen.Lukas 1,46-48Titel der Andacht: "Gott erheben"Nachzulesen in nah-am-leben.de

Singet dem HERRN, rühmet den HERRN, der des Armen Leben aus den Händen der Boshaften errettet! Jeremia 20,13 Maria sprach: Meine Seele erhebt den Herrn, und mein Geist freuet sich Gottes, meines Heilandes; denn er hat die Niedrigkeit seiner Magd angesehen. Lukas 1,46-48 Autor: Lukas Rösel

Brent Erstad, St. John's Director of Music and Organist, who will speak on Bach's motet, Singet dem Herrn ein neues Lied (Sing to the Lord a New Song), BWV 225, which was included in the 11 a.m. service on Sunday, October 9, 2022.

Singet dem HERRN und lobet seinen Namen, verkündet von Tag zu Tag sein Heil! Psalm 96,2 Lehrt und ermahnt einander in aller Weisheit; mit Psalmen, Lobgesängen und geistlichen Liedern singt Gott dankbar in euren Herzen. Kolosser 3,16 Autor: Ralf Schöll

Das Losungswort und der Lehrtext der Herrnhuter Brüdergemeine: Singet dem HERRN und lobet seinen Namen, verkündet von Tag zu Tag sein Heil! Psalm 96,2 Lehrt und ermahnt einander in aller Weisheit; mit Psalmen, Lobgesängen und geistlichen Liedern singt Gott dankbar in euren Herzen. Kolosser 3,16 Titel der Andacht: "Von Tag zu Tag" Nachzulesen in nah-am-leben.de

Singet fröhlich Gott, der unsre Stärke ist! Psalm 81,2 In allem erweisen wir uns als Diener Gottes: als die Traurigen, aber allezeit fröhlich; als die Armen, aber die doch viele reich machen; als die nichts haben und doch alles haben. 2.Korinther 6,4.10 Autorin: Wichern

Singet dem HERRN ein neues Lied, seinen Ruhm an den Enden der Erde. Jesaja 42,10 Lasst euch nicht abbringen von der Hoffnung des Evangeliums, das ihr gehört habt. Überall auf der Welt, so weit der Himmel reicht, ist es verkündigt worden. Kolosser 1,23 Autor: Schöll

A Chamber Music Concert by one of Crescendo's Ensembles: Mientras me abraza–Baroque, Latino, and Folk Fusion On April 8 and 9, the music organization Crescendo will present the first in a series of four concerts of vocal and instrumental music. This first concert of Crescendo's 2022 season is a program featuring chamber music with a “twist.” The repertoire featured and the instruments uses not only crossover into different genres of classical, folk and contemporary music, but they also break down the barriers between these genres and illustrate how very connected these different styles of music are. The unifying element is the folk dance – from Poland over Spain to Latin America. Folk music and dance rhythms permeate classical music, and connect different genres and eras from the Baroque to present times. Polish folk music and dances influenced music by many Baroque composers, including some that are generally associated with serious sacred music, such as Johann Sebastian Bach and George Philip Telemann. The ensemble will present their own ar-rangements of three Baroque works, Telemann's Suite Polonoise, and Bach's famous Orchestral Suite in B minor, and his motet “Singet dem Herrn.” All are great examples of this fusion of styles. Traditional Spanish, Polish and European dance music was influenced by the Folk music in Colonial Latin America. The ensemble will present their own arrangements of Mariachi tunes and other traditional dances from Mexico, Puerto Rico, Bolivia and Chile. Some of these pieces will be preceded by improvisations in Baroque style. Connecting the past and the present are two contemporary works, written in this decade and based on Latin American dances. Dan Román, the composer of one of the contemporary works written for the ensemble, describes the fusion in the following way: “My piece is an attempt to meld two seemingly dissimilar musical traditions: minimalist music, and folkloric and popular dance music such as the Bomba, Plena, Salsa, and Mambo. These two traditions turned out to have great affinity to one another due to the use of layered rhythms and a sense of perpetual drive.” The musicians who present these works will use an unusual combination of chamber instruments: Violin and per-cussion played by Job Salazar, Carlos Boltes with viola and charango, and Crescendo's Founder and Artistic Director Christine Gevert, virginal and organ. These concerts have been made possible in part with support from the Connecticut Office of the Arts, which also receives funding from the National Endowment for the Arts, a federal agency. 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. The concerts will take place on Friday, April 8, at 6 pm at Trinity Church Lime Rock, 484 Lime Rock Rd., Lakeville, CT, and on Saturday, April 9, at 4 pm at Saint James Place, 352 Main Street, Great Barrington, MA. Tickets are $35 (general seating), $60 (premium seating), and $10 (youth). All audience members, including staff, and performers must show proof of being fully vaccinated. Musicians, audience members, and staff must remain properly masked once inside the performance venue. These policies are subject to change. Access online ticket sales and the full Covid precaution policy in the most updated version on Crescendo's website: www.crescendomusic.org. ### COVID PROTOCOL FOR CRESCENDO'S CONCERTS AND EVENTS, (updated March 14, 2022) As an audience member I acknowledge that I am aware of certain risks of participating in public events due to the COVID-19 pandemic, and that I am choosing to enter the venue my tickets are purchased for at my own risk. In order to do my part to not s

On today's episode, we are chatting with Arianne Abela, the Artistic Director and co-founder of Kaleidoscope Vocal Ensemble, a group that engages in creative educational outreach to audiences and students, particularly in communities of color, and promotes the study, research, performance, and recording of music from various eras with special attention to the intersection of arts and social justice. http://www.inunisonpodcast.com/episodes/s05e04#transcript (Episode transcript) Edited by https://www.inunisonpodcast.com/fausto (Fausto Daos) Music excerpts “https://soundcloud.com/user-549564232/singet-dem-herrn-ein-neues-lied-bwv-225-johann-sebastian-bach?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing (Singet dem Herrn ein neues Lied),” by Johann Sebastian Bach “https://www.youtube.com/watch?v=F505cSEtzFw (When the Violin),” by Reena Esmail; Wayne Smith, cello “https://www.youtube.com/watch?v=oNJWeImBAUU (and the swallow),” by Caroline Shaw, from Kaleidoscope's virtual concert “Home” “https://youtu.be/TpGSTJcoESk (Prayer for Deliverance),” by Joel Thompson, performed by the Yale Glee Club and Kaleidoscope Vocal Ensemble Episode references Kaleidoscope Vocal Ensemble https://www.kaleidoscopevocalensemble.com/ (Website) | https://www.instagram.com/kaleidoscopevocalensemble/ (Instagram) | https://www.facebook.com/KaleidoscopeVocalEnsemble (Facebook) | https://www.youtube.com/channel/UCLX1nBbtvAnzZZDtTTmA4Dw (YouTube) Theme Song: https://music.apple.com/us/album/mr-puffy/1457011536?i=1457011549 (Mr. Puffy) by Avi Bortnik, arr. by Paul Kim. Performed by http://www.dynamicjazz.dk/ (Dynamic)

"Musikalischer Adventskalender 2021"Vom 01. bis zum 24.12. erscheint jeden Tag um 15:00 eine neue kleine Podcast-Episode, in der ich Ihnen ein besonderes adventliches oder weihnachtliches Stück vorstellen möchte.Ich wünsche Ihnen einen frohe und besinnliche Weihnachtszeit!Wenn Ihnen dieses Format gefällt, lade ich Sie herzlich dazu ein, den Podcast gerne auch an Freunde und Bekannte weiterzuempfehlen. Die Episoden sind auf allen gängigen Audio-Streaming-Plattformen (Spotify, Amazon Music, Apple Podcasts...) verfügbar.----------------------------LINKS ZUR EPISODE----------------------------https://www.youtube.com/watch?v=TzYYHWN4cpw&ab_channel=toxiconegroChoralvorspiel „Puer natus in Bethlehem"g-moll BWV 603performed by Wolfgang Zerer, organ https://www.youtube.com/watch?v=hAD7JNaYNik&ab_channel=AndreaScalia-EarlyMusicPraetorius — Puer natus in Bethlehem [a 12]Puer natus in Bethlehem unde gaudet JerusalemAlleluia! Alleluia!Singet, jubiliret, triumphiret unsern Herren, dem König der Ehren. Reges de Saba veniuntaurum, thus, myrrham offeruntAlleluia! Alleluia! Singet, jubiliret, triumphiret unsern Herren, dem König der Ehren.Hic jacet in praesepio,Qui regnat sine termino.Alleluia! Alleluia!Singet, jubiliret, triumphiret unsern Herren, dem König der Ehren.Mein Herzens Kindlein, mein liebstes Freundlein, o Jesu.--------------------SOCIAL MEDIA--------------------Offizieller Kanal zum Podcast:https://t.me/ForumOrganumMein YouTube-Kanal:https://www.youtube.com/ProOrganoPlenoPersönliche Internetseite:http://friedrich-sacher.de------------HINWEIS------------Sämtliche Rechte der präsentierten Audioaufnahmen liegen bei den jeweiligen Interpreten, Komponisten, Labels und Herausgebern. Das hier verwendete Material wird in keinster Weise gewerblich genutzt und es werden durch den Podcast keinerlei Einnahmen generiert!Das Angebot enthält Links zu externen Webseiten Dritter, auf deren Inhalt keine Einfluss besteht. Deshalb kann für diese fremden Inhalte auch keine Gewähr übernommen werden. Für die Inhalte der verlinkten Seiten ist stets der jeweilige Anbieter oder Betreiber der Seiten verantwortlich.Sollten Sie mit der Veröffentlichung des Materials in dieser Weise nicht einverstanden sein, bitte ich Sie um schriftliche Benachrichtigung über meine oben angegebene Webseite. Ich werde das entsprechende Material im Anschluss umgehend entfernen.

Psalm 98 - Singet dem Herrn ein neues Lied

S3F03 | „Singet dem HERRN ein neues Lied, denn er tut Wunder.“ (Psalm 98,1) & „Singt Gott dankbar in euren Herzen.“ (Kolosser 3,16)

S3F03 | „Singet dem HERRN ein neues Lied, denn er tut Wunder.“ (Psalm 98,1) & „Singt Gott dankbar in euren Herzen.“ (Kolosser 3,16)

Singet dem HERRN ein neues Lied, denn er tut Wunder. Psalm 98,1 Singt Gott dankbar in euren Herzen. Kolosser 3,16 Autor: Gessner

Am Sonntag "Kantate" dreht sich alles ums Singen und Loben - auch bei Lars und Wolfgang. Auch wenn Gesang nach wie vor schwierig ist. Aber trotzdem gibts immer noch die eine oder andere Möglichkeit... und natürlich Schoki zum Kaffee! --- Send in a voice message: https://anchor.fm/kirchenkreis-vlotho/message

In this episode, Scott Allen Jarrett, Resident Conductor of the Chorus, joins host Guy Fishman to discuss one of his greatest inspirations in his musical career: Johann Sebastian Bach. Jarrett's passion and incredible knowledge of Bach's works shine as he and Guy discuss Bach's incredible motets, including Singet dem Herrn. Written and produced by Guy Fishman

Der Eingangschor der Neujahrskantate Bachs ist nur unvollständig überliefert. Einige Informationen hat Johann Sebastian Bach ausgelassen, erklärt Michael Maul. Originalstimmen gibt es nur für die Sänger und die Violinen.

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

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

We’re going to focus on Singet dem Herrn ein neues Lied (“Sing onto the Lord a New Song”), BWV 225; Lobet den Herrn (“Praise the Lord”), BWV 230; and Jesu meine Freund  (“Jesus, my Joy”), BWV 227. 

Welcome to the Morning Service from Glasgow Cathedral for Sunday the 22nd of November. . We hope you enjoy worshiping with us this morning.The hymns include O Come, and let us to the Lord and Dear Lord and Father. Today's anthem is Orlando Gibbons  Great King of Gods . The service begins with the intorit: Singet mit Freuden. 

Vom Aussterben bedroht? - Männerchöre Wo Jan Schumacher ist, ist Energie im Raum. Es darf gelacht werden, viel geredet und gesungen werden. Ganz so wie man sich Fasnachtssitzungen rund um Limburg vorstellen kann. Kein Wunder, dass der kleine Jan dort seine ersten Auftritte hatte. Ob es ein Glück ist, dass er später zu den Limburger Domsingknaben stieß und dann doch nicht Musiklehrer wurde, können wir nur erahnen. Gelacht haben wir aber viel und Spaß hatten wir auch. Und Anne fühlt sich zumindest vorsichtig ermutigt, doch vielleicht mal als hohe Tenöse bei einem Männerchor vorstellig zu werden. Jan Schumacher (*1980) ist seit 2015 Universitätsmusikdirektor der Goethe Universität in Frankfurt/Main und unterrichtet seit 2019 an der Akademie für Tonkunst in Darmstadt. Von 2011 bis 2016 war er Professor für Chorleitung an der Hochschule für Kirchenmusik in Rottenburg. Nach dem Studium der Schulmusik und der Germanistik in Mainz studierte Jan Dirigieren bei Wolfgang Schäfer in Frankfurt. Schon als Kind und Jugendlicher (Musikalische Ausbildung bei den Limburger Domsingknaben und im Landesjugendchor Rheinland-Pfalz) prägte ihn die Faszination des gemeinsamen Musizierens, die bis heute Movens für seine vielfältigen Tätigkeiten ist. Neben der Frankfurter Universitätsmusik und den Ensembles der Akademie für Tonkunst in Darmstadt ist Jan Leiter des Chores der TU Darmstadt und der Camerata Musica Limburg. Mit seinen Ensembles erarbeitet er ein breites Repertoire von Gregorianik bis zur Uraufführung oder Jazz, von sinfonischem Orchester bis Big Band und vokaler oder elektronischer Improvisation. Regelmäßige Aufnahmen für HR, SWR, ORF, RTÉ, EBU und Deutschlandradio sowie zahlreiche CD-Produktionen dokumentieren seine Arbeit. Camerata Musica Limburg ist darüber hinaus 1. Preisträger renommierter nationaler (Deutsches Chorfest, Deutscher Chorwettbewerb) und internationaler (Tours, Maasmechelen) Wettbewerbe und Gast bedeutender Musikfestivals (z.B. Schubertiade Schwarzenberg). Jan ist gern gesehener Gast in Jurys und als Leiter von Seminaren für Chöre, Orchester und Dirigenten im In- und Ausland. Der deutschsprachigen Chorszene ist er durch die Leitung zahlreicher Workshops und Kurse bei AMJ, DCV (chor.com), Pueri Cantores, ACV u.a., als Jurymitglied beim Schweizerischen und Deutschen Chorwettbewerb sowie Austria Cantat und als Herausgeber von über zehn Chorbüchern bei den wichtigsten Chormusik-Verlagen (Helbing, Carus, Bärenreiter, Peters) bekannt. International folgten Einladungen zu Festivals wie America Cantat (Panama 2019), Africa Cantat (Kenia 2020) oder der Choralies (2016, 2019), sowie Workshops und Vorträge bei der American Choral Directors Associtaion (National Conference 2013), dem IFCM World Symposium (Argentinien 2011, Barcelona 2017) und der Philippine Choral Directors Association (Manila 2019). Gastdirigate u.a. beim Chamber Choir of Europe, dem Taipeh Philharmonic Choir (Mendelssohn: Elias, 2019) und dem Ensemble Aleron (Philippinen 2020), sowie regelmäßig beim Landesjugendchor Rheinland-Pfalz, dem er durch viele Projekte intensiv verbunden ist. Dirigierkurse leitete Jan in Bulgarien, Island, der Türkei, USA, Venezuela, Argentinien, China und im Iran. Viele Jahre war Jan Mitglied des Vorstandes und der Musikkommission der European Choral Association – Europa Cantat. Seit 2019 ist er Vorsitzender des Beirats Chorwettbewerb im Deutschen Musikrat und somit künstlerischer Leiter und Juryvorsitzender des Deutschen Chorwettbewerbs.

Anne Kohlers Dirigat spricht für sich. Aber warum und vor allem, wie? Wir sprechen über Vorbilder, Ausbildung, Ansporn, Technik, Klangarbeit, Pop-Chor und Kammerchor und Frauen in der Chorleitungsszene. Wir erfahren von Höhen und Tiefen, von „bewegtem Herumstehen“ und der Liebe zur Chormusik von Anne Kohler.

“I am horrified everytime I hear people use the word ‘virtual’… we are very real people who are interacting on platforms that may be keeping us physically distanced, but we are still socially connected.” This week, closing out Season 1 of Keep Calm and Carry On, Ryan interviews his classmate, friend, and colleague, G. Phillip Shoultz, III. Laugh along with them as they reminisce about their graduate days at the University of Minnesota and talk about creating the soundtracks of our lives, art’s invitation for us to enter a space heart first, and the power of music to lift people up. Phillip candidly shares his experiences as an African American male in classical music, his struggles with mental health, and the transformative experiences he creates as Associate Conductor of VocalEssence. You’re also invited to a deliciously “well-balanced musical meal” in J.S. Bach’s “Singet dem Herrn ein neues Lied” BWV 225 as Ryan & Phillip pay homage to their conducting teacher Kathy Romey. Then, get ready for some “front porch singing” as we highlight Andrea Ramsey’s arrangement of the Low Lilly song “Hope Lingers On” (available through MusicSpoke Marketplace).To learn more about what you heard, use the links below: VocalEssence: https://vocalessenec.orgUniversity of Minnesota School of Music: https://cla.umn.edu/musicNetherlands Bach Society: https://www.bachvereniging.nl/en/allofbachAndrea Ramsey: http://www.andrearamsey.comLow Lily: https://www.lowlily.comMusic Spoke: https://musicspoke.com----------Like and Follow us on Facebook at http://facebook.com/choironpodcast

Cantate! Singet und jubelt dem Herrn! Diesen Podcast starten wir mit etwas Musik und sprechen danach über die Bedeutung von Lobpreis, passend zum Thema dieses Sonntags. Wir befinden uns in der zweiten Woche unserer Korintherbrief-Reihe. Ralf hält diesmal die Andacht über Kapitel zwei. Das Material dazu, findet ihr jede Woche auf unserer Website. Auch einen Buchtipp gibt es in dieser Folge wieder. Buchempfehlung: „Der erste Korintherbrief“, Autor: Walter Klaiber, ISBN: 978-3-7887-2540-2 Ihr wollt mit in die nächste Folge? Hier könnt ihr uns eine Audio-Nachricht schicken. (https://anchor.fm/efg-wilhelmstadt/message) Email an: podcast@efgwilhelmstadt.de Link zu unserer Website (efgwilhelmstadt.de) Icon made by Smashicons from www.flaticon.com

In april 1789 was Mozart in Leipzig, hij bespeelde oa het orgel van de Thomaskirche, en kreeg als ‘cadeautje’ een uitvoering van het motet ‘Singet dem Herrn ein neues Lied’. Mozart was stomverbaasd, ‘Wat is dit?’. Volgens hem muziek waar je wat van kon leren, en hoe. Johann Sebastian Bach Motet BWV.225, “Singet dem Herr nein neues Lied” Amarcord & Lautten Compagney Deutsche Harmonia Mundi 88725465292 12’08’’

In Psalm 149 Vers 1 fordert uns die Bibel auf: „Singet dem HERRN ein neues Lied; die Gemeinde der Heiligen soll ihn loben.“ Aber bei all dem Elend, den Schwierigkeiten, Krankheiten, bei den Problemen, die ich habe, soll ich singen? Mag vielleicht mancher von uns fragen. Singet dem HERRN ein neues Lied. Es gibt zwei [...]

Moritz Puschke ist quasi die personifizierte deutsche Chorszene. Als ehemaliger Geschäftsführer des deutschen Chorverbandes, Gründer der Chor.com und leidenschaftlicher Chormusikfan kennt er sich in der Szene aus wie vielleicht kein zweiter. Wir sprechen mit ihm auch über Möglichkeiten eines Chores, sich neuen Konzertformaten und Chorprofilen zu stellen.

Kleine Zwischenfolge – weil es gut passt – zur Frage, welche Kommunikationspraxen sich entwickeln, damit zentrale Ideologeme einer Ideenlehre lebensweltlich verankert werden. Eine dieser Praxen ist das gemeinsame Singen. Um zu illustrieren, wie wirkmächtig dies ist, zeige ich Ihnen eine private Aufnahme: Ich singe mit meiner Tochter (3 1/2) gemeinsam "Wir bleiben auf" von Cherilyn Macneil aus dem großartigen Kinderfilm "Nasenbärbande". Vorsicht: Laut. Gesungenes wird besser memoriert (Embodiment und Entrenchment) und ist ein hervorragendes Mittel zur Vergemeinschaftung. P.S. Heute wird im Kirchenjahr der Sonntag "Kantate" (Singt!) gefeiert und der Spruch für die Woche ist: "Singet dem HERRN ein neues Lied, denn er tut Wunder." Ps 98,1 – nur, um noch einmal den Bogen zur letzten Vorlesung zu schließen.

«Ja, ich will euch tragen bis zum Alter hin» und «Singet dem Herrn ein neues Lied», - diese beiden Choräle sowie Teile aus verschiedenen Messen und kurze Bibel-Auslegungen – das alles ergibt einen stimmungs­vollen Gottesdienst zum Thema «alt sein». Der Schaffhauser Seniorenchor Rundadinella unter der Leitung von Vreni Winzeler wirkt mit, begleitet von Adrian Uhr, Kontrabass, Hrvoje Krizic, Cello, Esther Egli und Manuela Mensching, Violinen, Nathalie Fahr, Akkordeon. Die Soli übernimmt Ornella Lapadula, Mezzosopran, und an der Orgel spielt Susanne Reinhardt-Klotz. Sie alle gestalten zusammen mit Pfarrerin Johanna Tramer den Gottesdienst in der Stadtkirche von Stein am Rhein.

„Te Deum laudamus, te Dominum confitemur“ – der „ambrosianische Lobgesang“ aus dem 4. Jahrhundert ist ein geradezu extatisch zu nennender Text, der das Lob Gottes durch Menschen und Engel thematisiert und am Ende in Bitten um Gottes Hilfe mündet. Dieser Text hat durch die Jahrhunderte Komponisten zur Vertonung angeregt, die bekanntesten sind die von Charpentier, Mozart, Bruckner, Berlioz und Verdi. Bereits im Kantatengottesdienst am So, 10. Juni , 10 Uhr erklingt im Rahmen eines Kantatengottesdienstes das „Te Deum“ KV 141 von W.A.Mozart. Martin-Luther hat das lateinische Te Deum ins Deutsche übertragen. Sein Choral „Herr Gott, dich loben wir“ wird heute zwar kaum gesungen, hat aber seinen Niederschlag in zwei Neujahrskantaten von J.S. Bach gefunden. Eine davon ist die Kantate 190 „Singet dem Herrn ein neues Lied“ in deren Eingangschor die ersten beiden Choralzeilen zitiert werden. In der Einrichtung für große Orgel und Chor erklingt dieses klangprächtige und virtuopse Werl zu Beginn des Gottesdienstes. Die Predigt hält Pfr. Frank Erichsmeier.

Conductor Malcolm J. Merriweather is Music Director of New York City's The Dessoff Choirs, known for performances of choral works from the pre-Baroque era through the 21st century. An Assistant Professor, he is Director of Choral Studies and Voice Department Coordinator at Brooklyn College of the City University of New York, Artist in Residence at Union Theological Seminary, and Artistic Director of Voices of Haiti, a 60-member children's choir in Port-au-Prince, Haiti, operated by the Andrea Bocelli Foundation. Merriweather is also in demand as a baritone soloist, often performing throughout the eastern United States. During the summer of 2017, Merriweather led Voices of Haiti in performances with Andrea Bocelli at Teatro del Silenzio in Lajatico, Italy and for Pope Francis at the Vatican. Other conducting highlights of the 2017-18 season include: David Lang's The Little Match Girl Passion, Vaughan Williams's Dona nobis pacem, Bach's Singet dem Herrn, BWV 225, and Komm, Jesu, komm, BWV 229 with The Dessoff Choirs; Handel's Messiah at Brooklyn College and the Harvard Club of New York; and Leonard Bernstein's Mass (Concert Selections) and Honegger's King David at Brooklyn College. Recent conducting highlights have included Mozart's Requiem, Vivaldi's Gloria, Bernstein's Chichester Psalms, and Orff's Carmina Burana. Solo engagements for the 2017-18 season include the premiere of Sanctuary Road by Pulitzer Prize-winner Paul Moravec with Kent Tritle and the Oratorio Society of New York at Carnegie Hall; and Fauré's Requiem and Ralph Vaughan Williams's Dona nobis pacem​ with Christopher Shepard and The Masterwork Chorus. Recent performances have included the baritone solos in Rautavaara's Vigilia as a part of the Great Music in a Great Space series at the Cathedral of St. John the Divine; the music of William Byrd with Parthenia; and Vaughan Williams's Dona Nobis Pacem with the Grace Choral Society. Additionally, Merriweather has been featured as a soloist with the Boston Symphony Orchestra, The Dessoff Choirs, the New York Choral Society, and Bach Vespers Choir and Orchestra at Holy Trinity Lutheran Church in New York City. The baritone has also premiered contemporary solo works by Eve Beglarian, John Liberatore, Ju Ri Seo, Douglas Fisk, and James Adler, and he has been a fellowship recipient at the Norfolk Chamber Music Festival and Tanglewood Music Center. Merriweather holds a Doctor of Musical Arts degree in Conducting from the studio of Kent Tritle at the Manhattan School of Music, where his doctoral dissertation, Now I Walk in Beauty, Gregg Smith: A Biography and Complete Works Catalog, constituted the first complete works list for the composer and conductor. He received Master of Music degrees in Choral Conducting and in Vocal Performance from the studio of Rita Shane at the Eastman School of Music, as well as a Bachelor of Music degree in Music Education from Syracuse University, summa cum laude. Merriweather's professional affiliations include membership in Pi Kappa Lambda, the American Choral Directors Association, and Chorus America, and he sits on the Board of Directors of the New York Choral Consortium. In this episode, Malcolm shares his one way ticket to join the Fisk University Jubilee Singers on their first tour in 1871! He also talks about his work with the Voices of Haiti, the life of a Conductor, and his eclectic play list. Malcolm is just one of the extraordinary guests featured on The One Way Ticket Show, where Host Steven Shalowitz explores with his guests where they'd go if given a one way ticket, no coming back! Destinations may be in the past, present, future, real, imaginary or a state of mind. Steven's guests have included: Nobel Peace Prize Winner, President Jose Ramos-Horta; Legendary Talk Show Host, Dick Cavett; Law Professor, Alan Dershowitz; Broadcast Legend, Charles Osgood; International Rescue Committee President & CEO, David Miliband; Grammar Girl, Mignon Fogarty; Journalist-Humorist-Actor Mo Rocca; ; Bronx Borough President Ruben Diaz, Jr.; Abercrombie & Kent Founder, Geoffrey Kent; Travel Expert, Pauline Frommer, as well as leading photographers, artists, writers and more.

En överdängare på orgel, men var han upphovsman till sitt mest kända verk? Myterna kring Bach är talrikare än hans barnaskara. Hur kyrksam var han egentligen? Var det kanske opera han ville komponera? Lyssna på alla avsnitt i Sveriges Radio Play. Musik som hörs i programmet: Toccata o Fuga d-moll Cellosvit nr 5, Sarabande Aria ur Goldbergvariationerna Branderburgerkonsert nr 3 Motett BWV 225, Singet dem Herrn ein neues Lied Unser leben ist ein schatten Ein musikalischer opfer Der kunst der Fuge

En överdängare på orgel, men var han upphovsman till sitt mest kända verk? Myterna kring Bach är talrikare än hans barnaskara. Hur kyrksam var han egentligen? Var det kanske opera han ville komponera? Musik som hörs i programmet:  Toccata o Fuga d-moll     Cellosvit nr 5, Sarabande    Aria ur Goldbergvariationerna Branderburgerkonsert nr 3 Motett BWV 225, Singet dem Herrn ein neues Lied Unser leben ist ein schatten Ein musikalischer opfer Der kunst der Fuge

Heute: Preiset, singet und tanzet.

音乐是财富、是一种心情、是一个改变自己的方式。 它能表达出你的心情，释放你的压力，找到你的共鸣！

Ensemblet Enghave Barok fremfører tre af Bachs kantater til nytårstiden i en liturgisk sammenhæng, som man gjorde på Bachs tid. Kantate nr. 190, Singet dem Herrn ein neues Lied. Kantate nr. 58, Ach Gott, wie manches Herzeleid og Kantate nr. 63, Christen, ätzet diesen Tag. (Enghave Kirke, København 4. januar). Ca. 21.15: Violinisten Gunvor Sihm, der er debuteret fra Det Kgl. Danske Musikkonservatorium spiller Mozart og Bach. (Sendt første gang 8. december). Vært: Mette Greiffenberg.

In keiner Jahreszeit sonst wird so oft und so viel

The Rev. Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "The Bach Experience". The Marsh Chapel Choir sings "Singet dem Herrn ein neues Lied!, BWV 190" by J. S. Bach and "Nun bitten wir, BuxWV 208" by Dieterich Buxtenhude along with service music and hymns.

The Rev. Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "The Bach Experience". The Marsh Chapel Choir sings "Singet dem Herrn ein neues Lied!, BWV 190" by J. S. Bach and "Nun bitten wir, BuxWV 208" by Dieterich Buxtenhude along with service music and hymns.

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