Podcasts about thomaskirche

1723 begann die Ära Bach in Leipzig. Doch nach seiner Wahl zum Thomaskantor erlebt Bach eine "wunderliche, der Music wenig ergebene Obrigkeit". Claus Fischers Feature über ein Jahr, aus dem dennoch Musikgeschichte wurde.

Composer Gerry Murphy on a day in the life of Kapellmeister of Thomaskirche, Leipzig: the industrious Herr Bach.

Große Teile von "Mein drittes Leben" hat Daniela Krien im Café der Hugendubel-Filiale in Leipzig geschrieben, daher nennt sie es auch ihr "zweites Wohnzimmer". In ihrem neuen Roman erzählt die Bestsellerautorin von einer Frau, die ihre Tochter durch einen Unfall verloren hat, von den Phasen der Trauer und vom Finden eines langsamen Wegs zu einer Art Umgang. Mit Blick auf die Thomaskirche sprechen Anne-Dore und Daniela Krien über Figuren, die selbstständig werden, über die kraftspendende Energie des Schreibens, über die erstaunliche Stärke, die in einem steckt und über die große Frage, was dem Leben Sinn verleiht. Das Buch von Daniela Krien, über das wir im Podcast reden Daniela Krien: "Mein drittes Leben", 304 Seiten, Diogenes Verlag, 26,00 Euro. Anne-Dore Krohn empfiehlt Ulrike Draesner: "zu lieben", erscheint am 11.09.24, Penguin, 352 Seiten, 24,00 Euro. Daniela Krien empfiehlt Robert Spaemann: "Moralische Grundbegriffe", C.H. Beck, 109 Seiten, 9,95 Euro. Der Ort Café der Buchhandlung Hugendubel, Petersstr. 12-14, 04109 Leipzig. Die Autorin Daniela Krien wurde 1975 geboren und lebt in Leipzig. Ihr Debüt erschien 2011: "Irgendwann werden wir uns alles erzählen" und wurde mittlerweile verfilmt. Es folgten "Muldental" (2014, Erzählungen), "Die Liebe im Ernstfall" (2019), "Der Brand" (2021). "Mein drittes Leben" ist ihr vierter Roman.

Chillout Classic #48 Oskary cz.3 1. J.S.Bach - Wariacje Goldbergowskie: Aria i 7,8,9 wariacja, Lang Lang, koncert na żywo w Thomaskirche w Lipsku. 2. Ludwig Göransson - Oppenheimer: Manhattan Projekt American Prometheus Quantum Mechanics Gravity Swallows Light Fusion Los Alamos Trinity Ground Zero Destroyer Of Worlds Oppenheimer 3. Hans Zimmer - Diuna cz.2 Beginnings Are Suche Delicate Times, A Time of Quiet Between The Storm.

Die Fußball-Europameisterschaft wird dieses Jahr teilweise in Leipzig stattfinden. Was das organisatorisch alles mit sich bringt, damit haben wir uns heute beschäftigt. Außerdem kommt es in der Pfarrgemeinde der Thomaskirche zu Umbrüchen und Bundesfinanzminister Christian Lindner trifft in Leipzig auf die Letzte Generation. Moderation: Vinz Rauchhaus Redaktion: Fiona Böcker, Lilli Drummer Falls ihr mehr von uns hören wollt, schaut gerne auf unseren Social-Media-Kanälen vorbei: Instagram: instagram.com/mephisto976 Twitter: twitter.com/mephisto976

Hohoho! Das Weihnachts-Special führt direkt ins Geheimnis der Heiligen Nacht. Mit Anne Gidion, der Bevollmächtigten der EKD bei Bundesregierung und EU, haben die Seelenfutter-Gastgeber Susanne Garsoffky und Friedemann Magaard einen wunderbaren Gast eingeladen. Zu dem äußerst gesanglichen "Das andere Weihnachtslied" von Karl Röttger stellt das xmas-Trio Lore Mallachows "Weihnachtsoratorium in der Thomaskirche", auch äußerst musikanisch, und das wundervolle "Weihnachtskinder" der wundervollen Christina Brudereck. Hach...!! Dazu gibt es Bibelworte aus den Psalmen, den Sprüchen und von Lukas. Ein Seelen-Festmahl zum großen Christenfest. Wohl bekomm's!

Die Zahl klingt erstaunlich: Mehr als 300 Bach-Chöre gibt es auf der Welt, darunter zahlreiche, die sich aus Laien rekrutieren. Die Filmemacherin Anna Schmidt stellt einige darunter aus Paraguay, den USA, Japan, Neuseeland, Australien, Malaysia, Südafrika und der Schweiz vor und begleitet sie im Juni 2022 auf dem Weg zum weltweit größten Treffen der Bach-Familie – dem Leipziger Bachfest, bei dem sich unter dem Motto „Bach – We Are Family“ Menschen aus aller Welt versammelten, um gemeinsam zu musizieren. Zum ersten Mal durften im Rahmen des Leipziger Bachfestes auch Laienchöre in der Thomaskirche auftreten, wo Bach begraben ist. Kirsten Liese hat den Film bereits gesehen und ist geteilter Meinung.

Die faszinierende Kraft der Musik ist in Leipzig überall zu spüren, auf Straßen, Plätzen, Konzertsälen und auch Kirchen. Eine davon ist die Thomaskirche, sie ist als Wirkungsstätte Johann Sebastian Bachs und des Thomanerchores weltweit bekannt.

Synopsis In the Guiness Book of Music Facts and Feats, the record for "Most Prolific Composer" goes to Georg Philip Telemann, who died on today's date in 1767 at the age of 86. And longevity gave an edge to productivity: Telemann outlived his prolific contemporary, J.S. Bach, by 21 years, and outlived Handel by 12. But even considering the extra years he lived, Telemann's output is staggering. Of Bach's cantatas, some 200 or so survive, but Telemann's number 1400. He also wrote 125 orchestral suites, 125 concertos, 130 trios, 145 pieces for solo keyboard, and about 50 operas. Most composers (if they are lucky), publish one autobiography; Telemann published three, and commented in one of them, "How is it possible for me to remember everything I wrote for violin and winds?" Sometimes, in addition to composing original music, Telemann was also asked to perform it: "A few days before I play a violin concerto," he wrote, "I always locked myself away, fiddle in hand, shirt-sleeves rolled up, with something strong to calm the nerves, and practice." Fortunately, Telemann seemed to find musical inspiration everywhere, including from the pop and folk music of his day. As he put it, "One would scarcely believe what wonderful ideas pipers and fiddlers have when they improvise while dancers pause for breath. An observer could easily gather enough ideas from them in eight days to last a lifetime!" Music Played in Today's Program Georg Philipp Telemann (1681 - 1767) Violin Concerto in A (The Frog) Pavlo Beznosiuk, violin; New London Consort; Philip Pickett, conductor. London 455 621 On This Day Births 1860 - French composer Gustave Charpentier, in Dieuze, Lorraine; 1935 - Austrian composer Kurt Schwertsik, in Vienna; Deaths 1767 - German composer Georg Philipp Telemann, age 86, in Hamburg; 1822 - German composer, critic and popular Romantic author Ernst Theodor Amadeus ("E.T.A.") Hoffmann, age 46, in Berlin; Premieres 1840 - For the 400th anniversary of the Gutenberg Printing Press, Mendelssohn presents his Symphony No. 2, "Lobegesang" (Song of Praise) at the Thomaskirche in Leipzig; 1850 - R. Schumann: opera "Genoveva," in Leipzig at the Stadttheater; 1910 - Stravinsky: ballet, "The Firebird," at the Paris Opera, with Gabriel Pierné conducting; 1923 - de Falla: one-act opera "El retablo de maese Pedro" (Master Peter's Puppet Show), first staged performance in Paris at the home of the Princesse de Polignac; This opera was premiered in a concert performance in Seville on March 23, 1923; 1940 - William Grant Still: choral ballad "And They Lynched Him on a Tree," at New York's Lewisohn Stadium by the Schola Cantorum and Wen Talbert Negro Choir with the New York Philharmonic, Arthur Rodzinksi conducting; 1954 - Leroy Anderson: "Sandpaper Baller" at a Decca recording session in New York City, with the composer conducting; Three different grades of sandpaper rubbed together were used to make the vaudeville-style "soft shoe" dancing sound effects for this classic recording; 1955 - Grofé: "Hudson Valley" Suite, in Washington, D.C., by the National Symphony conducted by André Kostelanetz; 1991 - James MacMillan: "Tuireadh" (Lament) for clarinet and string quartet, by James Campbell and the Allegri Quartet at St. Magnus Cathedral in Kirkwall (Orkney Islands). Links and Resources On Telemann

Heute wird es kurz und etwas müde. Zumindest am Anfang. Dann wird es lebhafter. Mit Themen wie dem Streik der Verkehrsbetriebe, 3 DInge bei denen Städt schon mal verkackt hat und einiges mehr. Hört selbst! Roberts Empfehlung: Die amici musicae Matthäuspassion am 7.4.2023 in der Peterskirche Leipzig. Städts Empfehlung: Die Motette in der Thomaskirche am 22.4.2023 mit dem Collegium Thomanum Der hochoffizielle D&G Instagram Channel: @distanzundgloria Städts Instagram Channel: @staedt_tc Roberts Instagram: @tenorpohlers

Das Weihnachtsoratorium von Bach bringt wie nur wenige Musikwerke die weihnachtliche Seligkeit auf den Punkt: die schiere Freude, die Aufregung darüber, dass Gott sich der Welt in der Verletzlichkeit eines Kindes offenbart. Dass eines der weltbesten Ensembles quasi „gleich um die Ecke“ liegt und in Trogen die Werke von Johann Sebastian Bach zum Klingen bringt, ist vermutlich Wenigen bewusst. Erst kürzlich präsentierte das Orchester der J.S. Bach-Stiftung die Johannespassion am Bach-Fest in der Thomaskirche in Leipzig – einer der grossen Wirkstätten Bachs. Das gleicht einem Ritterschlag. Dass das Projekt so erfolgreich ist, geht zu einem grossen Teil auf Rudolf Lutz zurück. Er ist der künstlerische Leiter, Dirigent und das Mastermind, wenn es um die Interpretation der Werke geht. Auf Initiative von Stiftungsgründer Konrad Hummler sollen alle Vokalwerke Bachs aufgeführt und in Bild und Ton aufgezeichnet werden. 2006 startete die Stiftung mit der ersten Kantate. 2027 soll das ehrgeizige Ziel erreicht werden. Da die Stiftung über die Schweiz hinaus Musikliebhaberinnen erfreut, hat Podcast Gastgeber Gabriel Imhof dieses Gespräch ausnahmsweise auf Hochdeutsch geführt. Die Musik wurde mit freundlicher Genehmigung von der J.S.Bach-Stiftung aus St. Gallen zur Verfügung gestellt. Kommt mit auf eine Reise mit Ruedi Lutz zu Johannes Sebastian Bach und dem Weihnachtsoratorium... Viel Spass! Rudolf Lutz erzählt bei Minute 02:16 über die J.S. Bach-Stiftung St. Gallen 02:42 über die Faszination "Bach" 05:00 über das ehrgeizige Ziel der Stiftung 09:24 darüber, wie das Interesse an der Musik Bachs geweckt werden kann. 13:10 über das Erlebnis in der Thomas Kirche Leipzig 15:30 wie er musikalische Exzellenz erreicht 19:14 wovor er am meisten Angst hat. 22:06 über seine geistliche Entwicklung 26:29 was er noch erreichen möchte 31:18 eine kleine Weisheit zum Schluss.

Als offizieller Soundtrack zu Luthers Rechtfertigungslehre kann diese Kantate bezeichnet werden, zu deren Quellenerschließung auch ein New Yorker Bauarbeiter beigetragen hat.

Kaum einen anderen Choral hat Bach in Text und Melodie so stark "seziert" wie diesen: In allen Sätzen wimmelt es nur so von Zitaten und Varianten. Geklärt wird in dieser Folge auch, was "Tod in Töpfen" zu bedeuten hat.

An seinem vierten Sonntag als Leipziger Thomaskantor vertont Bach ein Libretto von Erdmann Neumeister, dem Trendsetter moderner Kantatendichtung. Maul & Schrammek entdecken darin auch eine Spur "German Gemütlichkeit".

Einführungsmusik, Teil 2: Mit seiner zweiten Leipziger Kantate stellt sich Bach in der Thomaskirche vor und komponiert dafür wieder eine zweiteilige Kantate mit Überlänge und vielen raffinierten Instrumentaleffekten.

Das Weihnachtsoratorium gehört für viele Menschen zu Weihnachten so wie Glühwein oder Plätzchen backen, dabei schrieb Bach sein überwältigendes spirituelles Opus 1734 in 6 Teilen möglicherweise für den einmaligen Gebrauch im Gottesdienst und griff dafür auf ältere eigene Werke und ein altes Kirchenlied zurück. (Autor: Martin Zingsheim)

Synopsis In many denominations, the Christian calendar or liturgical year begins with the season of Advent, the four Sundays preceding Christmas. The word “Advent” comes from the Latin “adventus,” which means “arrival” or “coming,” because Advent celebrates both the joyful anticipation of the arrival of the baby Jesus and the need for believers to prepare for the second coming of their Savior at the Last Judgement. In 1724, a very devout German Lutheran church musician named Johann Sebastian Bach crafted a cantata, a work for a small instrumental ensemble with solo voices and chorus, to be performed on the First Sunday of Advent, which fell on today's date that year. At Bach's church, the Thomaskirche in Leipzig, there would have been readings from Luther's translation of the Bible appropriate for the day, so Bach asked a poet friend for a text meditating on them, and took for his musical inspiration Luther's Advent hymn, "Nun komm, der Heiden Heiland,", which in English means “Now come, Savior of the heathens." That hymn appeared as the first in the Thomaskirche's hymnal, which meant the church year was off and running once again. Now, it was Bach's responsibility to provide a cantata for performance each Sunday, and during his time in Leipzig he would write over 200 of them -- which no doubt made him a favorite customer with anyone in Leipzig selling music manuscript paper! Music Played in Today's Program J.S. Bach (1685 - 1750) — Cantata No. 62 (Nun komm, der Heiden Heiland) (Monteverdi Choir; English Baroque Soloists; John Eliot Gardiner, cond.) Archiv 463 588

Autor: Schulz, Benedikt Sendung: Tag für Tag Hören bis: 19.01.2038 04:14 Aus Religion und Gesellschaft Umstrittene Fusion in Leipzig Werden Nikolai- und Thomaskirche zusammengelegt? Ausgegrenzt, gemaßregelt, diskriminiert Eine Tagung und ein Forschungsprojekt zur Diskriminierung von Christen in den 1960er-Jahren der DDR Nach dem Drogentod ihres Sohnes Ein evangelisches Pfarrerehepaar in Münster und ihre Stiftung zur Drogenprävention unter dem Dach der Caritas Am Mikrofon: Benedikt Schulz

Die Thomas- und die Nikolaikirche in Leipzig blicken auf gut 800 Jahre Geschichte zurück. Jetzt sollen die beiden Gemeinden fusionieren. Wir sprachen mit Nikolaipfarrer Bernhard Stief über die Pläne der Landeskirche.

Tim und ich sprechen über das Reformationsfenster von Markus Lüpertz (Link: https://bit.ly/3uLaeaG ) Später betrachten wir noch dieses Werk von Kehinde Riley: https://binged.it/3tIWPyA Hier geht es zu Tims Instagram Seite: https://www.instagram.com/amen_aber_sexy/

Sie gilt als Höhepunkt protestantischer Kirchenmusik: die Matthäus-Passion, die vermutlich Ostern 1727 in der Leipziger Thomaskirche zum ersten Mal erklang. Bachs ergreifendes Monumentalwerk überzeugte selbst Kritiker des Christentums wie den Philosophen Friedrich Nietzsche. (Autor: Christoph Vratz)

a cura di Massimiliano SamsaJohann Sebastian Bach (1685 - 1750) - Weihnachtsoratorium, BWV 248Oratorio in sei parti, libretto di Christian Friedrich Henrici (Picander)Solisti:Dorothea Röschmann, SopranoAndreas Scholl, AltoWerner Güra, TenorKlaus Häger, BassRIAS KammerchorAkademie für Alte Musik BerlinRené Jacobs, DirectionLa Cantata della Pars IV è quella che più si distacca dalle altre: per le dimensioni ridotte, per la tonalità d'impianto (fa maggiore), per una particolare ricerca timbrica nella scelta dell'organico orchestrale. Dovendo celebrare la festa della circoncisione di Gesù, la Cantata è ovviamente incentrata sul tema del «nome di Gesù»: dopo il consueto e imponente Coro d'apertura, seguito dal racconto dell'Evangelista, è il basso che per primo invoca più volte il nome di Gesù con un Recitativo all'interno del quale Bach ha inserito una strofa di Corale affidata al soprano. La Cantata termina con due numeri che non si occupano più specificamente del tema: un'ardente Aria in re minore in stile fugato per tenore e due violini solisti e il luminoso Corale finale, caratterizzato dal timbro festoso dei due corni da caccia.Nella Cantata della Pars V Bach si è discostato dal testo evangelico previsto dalla liturgia per la domenica dopo Capodanno, narrante l'episodio della fuga in Egitto, per concentrarsi invece sull'imminente festività dell'Epifania offrendo così alla meditazione il tema di Cristo-Luce (simboleggiato dalla stella apparsa ai Magi) e della profezia della sua venuta. Il carattere della Cantata ripresenta i tratti più intimi e raccolti che avevano già contraddistinto la Pars II, anche e soprattutto per creare un necessario stacco prima della trionfale conclusione dell'Oratorio.Testo tratto da: https://www.flaminioonline.it/Guide/Bach/Bach-Weihnachts248.htmlUn buon ascolto e una buona notte da Massimiliano Samsa. Parte quarta:Fallt mit Danken, fallt mit LobenCantata in fa maggiore per soli coro e orchestraOccasione: festa della Circoncisione (Capodanno)36.Fallt mit Danken, fallt mit LobenCoro in fa maggiore per coro, 2 corni, 2 oboi, 2 violini, viola e organoUtilizza il Coro n. 1 della Cantata BWV 213.37.Und da acht Tage um warenRecitativo in do maggiore per tenore e organo38.Immanuel, o süsses Wort!Recitativo e arioso in re minore/fa maggiore per soprano, basso, 2 violini, viola e organo39.Flösst, mein Heiland, flösst dein NameAria in do maggiore per soprano, oboe e organoUtilizza l'Aria n. 5 della Cantata BWV 213.40.Wohlan! dein Name soll allein in meinem Herzen sein / Jesu, meine FreudeRecitativo e Arioso in re minore per soprano, basso, 2 violini, viola e organo41.Ich will nur dir zu Ehren lebenAria in re minore per tenore, 2 violini e organoUtilizza l'Aria n. 7 della Cantata BWV 213.42.Jesus richte mein BeginnenCorale in fa maggiore per coro, 2 corni, 2 oboi, 2 violini, viola e organoPrima esecuzione: Lipsia, Thomaskirche, 1 gennaio 1735Parte quinta:Ehre sei dir, Gott! gesiugenCantata in la maggiore per soli e ortchestraOccasione: 1a domenica dopo Capodanno43.Ehre sei dir, Gott! gesiugenCoro in la maggiore per coro, 2 oboi d'amore, 2 violini, viola e organo44.Da Jesus geboren war zu BethlehemRecitativo in fa diesis minore per tenore e organo45.Wo ist der neugeborne König der Jüden?Coro e recitativo in si minore per contralto, coro, 2 oboi d'amore, 2 violini, viola e organoUtilizza il Coro n. 114 della perduta Markuspassion BWV 24746.Dein Glanz all' Finsternis verzehrtCorale in la maggiore per coro, 2 oboi d'amore, 2 violini, viola e organo47.Erleucht' auch meine finstre SinnenAria in fa diesis minore per basso, oboe d'amore e organoUtilizza l'Aria n. 3 della Cantata BWV 215.48.Da das der König Herodes hörteRecitativo in la maggiore per tenore e organo49.Warum wollt ihr erschrecken?Recitativo in do diesis minore per contralto, 2 violini, viola e organo50.Und liess versammeln alle HohenpriesterRecitativo in la maggiore per tenore e organo51.Ach! wann wird die Zeit erscheinen?Trio in si minore per soprano, contralto, tenore, violino e organo52.Mein Liebster herrschet schonRecitativo in fa diesis minore per contralto, 2 oboi d'amore e organo53.Zwar ist solche HerzensstubeCorale in la maggiore per coro, 2 oboi d'amore, 2 violini, viola e organoPrima esecuzione: Lipsia, Thomaskirche, 2 gennaio 1735Parte sesta:Herr, wenn die stolzen Feinde schnaubenCantata in re maggiore per soli, coro e orchestraOccasione: festa dell'Epifania54.Herr, wenn die stolzen Feinde schnaubenCoro in re maggiore per coro, 2 oboi, 3 trombe, timpani, 2 violini, viola e organoUtilizza il Coro n. 1 della Cantata perduta Anh 1055.Da berief Herodes die Weisen heimlichRecitativo in la maggiore per tenore, basso e organo56.Du Falscher, suche nur den Herrn zu fällenRecitativo in si minore per soprano, 2 violini, viola e organo57.Nur ein Wink von seinen HändenAria in la maggiore per soprano, oboe d'amore, 2 violini, viola e organo58.Als sie nun den Konig gehöret hattenRecitativo in fa diesis minore per tenore e organo59.Ich steh' an diener Krippen hierCorale in sol maggiore per coro, 2 oboi d'amore, 2 violini, viola e organo60.Und Gott befahl ihnen im TraumRecitativo in fa diesis minore per tenore e organo61.So geht! genug, mein Schatz geht nicht von hierRecitativo in fa diesis minore per tenore, 2 oboi d'amore e organo62.Nun mögt ihr stolzen Feinde schreckenAria in si minore per tenore, 2 oboi d'amore e organo63.Was will der Holle Schrecken nun / Was will uns Welt und Sünde tunRecitativo in si minore per coro e organo64.Nun seid ihr wohl gerochenCorale in re maggiore per coro, 2 oboi d'amore, 3 trombe, timpani, 2 violini, viola e organoPrima esecuzione: Lipsia, Thomaskirche, 3 dicembre 1724

a cura di Massimiliano SamsaJohann Sebastian Bach (1685 - 1750) - Weihnachtsoratorium, BWV 248Oratorio in sei parti, libretto di Christian Friedrich Henrici (Picander)Solisti:Dorothea Röschmann, SopranoAndreas Scholl, AltoWerner Güra, TenorKlaus Häger, BassRIAS KammerchorAkademie für Alte Musik BerlinRené Jacobs, DirectionIn vista delle imminenti festività natalizie, nell'autunno del 1734 Johann Sebastian Bach - che in qualità di Kantor di S. Tommaso a Lipsia doveva per contratto occuparsi di tutto l'apparato musicale liturgico delle due chiese principali della città - decise di cogliere l'occasione per tentare nuove vie espressive, sollecitato ancora una volta dal suo instancabile spirito sperimentatore. Nacque così il progetto di un grande Oratorio, la forma musicale che in ambito sacro costituiva allora l'esatto corrispondente del melodramma: in esso infatti - pur mancando l'elemento strettamente visivo-rappresentativo, proibito in chiesa - si alternavano introduzioni strumentali, Cori, Recitativi accompagnati, numeri solistici e pezzi d'assieme, tra loro collegati dal Recitativo del narratore, come in una vera e propria «rappresentazione musicale di una storia sacra». Bach aveva già affrontato questa forma nelle Passioni, composte tra il 1724 e il 1731, ma per l'Oratorium Tempore Nativitatis Christi BWV 248 (Weihnachts-Oratorium) egli concepì la più ambiziosa, imponente e complessa architettura musicale di tutta la sua produzione: con questa avrebbe voluto forse inaugurare una nuova stagione creativa, ma rimase invece una sorta di miracoloso unicum nel suo catalogo. L'Oratorio di Natale, la composizione che ascolteremo questa sera, si compone di sei Partes. Di fatto si tratta di sei Cantate destinate alle sei solennità del Tempo di Natale di quell'anno: il Natale, Santo Stefano (26 dicembre), San Giovanni Evangelista (27 dicembre), Capodanno (o festa della circoncisione di Gesù, primo gennaio 1735), domenica dopo il Capodanno (2 gennaio) ed Epifania (6 gennaio). Questo grandioso ciclo natalizio fu pensato appositamente per un'esecuzione «a puntate» nell'arco di tredici giorni. Così ogni Cantata, pur essendo in sé compiuta e autonoma, è anche parte organica di un unico, ampio disegno: ed è proprio in questo aspetto che principalmente si rivela e si apprezza la grandezza del genio bachiano. Il primo livello di omogeneità che contraddistingue le sei Partes è quello testuale: l'autore (probabilmente Picander, ma l'intervento di Bach - specialmente nella scelta e nella disposizione dei brani - fu senz'altro decisivo) prese dai Vangeli di Luca e di Matteo la narrazione dei quattro episodi relativi al Natale (la nascita, la visita dei pastori, la circoncisione e la venuta dei Magi) e ne ricavò sei scene cronologicamente conseguenti, presentate dall'Evangelista. Esse costituiscono il nucleo «tematico» di ogni Pars, integrato e approfondito da originali testi madrigalistici per i brillanti Cori introduttivi, dai Corali della tradizione luterana, anch'essi affidati al coro ed espressione della pietas collettiva, e da altri brani poetici originali, destinati invece ad Arie solistiche, Duetti e Terzetti, che danno voce al fedele raccolto in preghiera.Nel notturno di questa sera ascolteremo le prime tre parti; le successive quarta, quinta e sesta parte saranno trasmesse nel notturno di domani.Testo tratto da: https://www.flaminioonline.it/Guide/Bach/Bach-Weihnachts248.htmlParte prima:Jauchzet, frohlocket!Cantata in re maggiore per soli coro e orchestraOccasione: per il giorno di Natale1.Jauchzet, frohlocket! auf, preiset die TageCoro in re maggiore per coro, 3 trombe, timpani, 2 flauti traversi, 2 oboi, 2 violini, viola e continuo2.Es begab sich aber zu der ZeitRecitativo in si minore per tenore e continuo3.Nun wird mein liebster BräutigamRecitativo in la maggiore per contralto, 2 oboi d'amore e continuo4.Bereite dich Zion, mit zärtlichen TriebenAria in la minore per contralto, oboe d'amore, violino e continuo5.Wie soll ich dich empfangenCorale in la minore per coro, flauto traverso, 2 oboi, 2 violini, viola, violoncello e continuo6.Und sie gebar ihren ersten SohnRecitativo in mi minore per tenore e continuo7.Er ist auf Erden kommen armCorale e recitativo in mi minore/sol maggiore per soprano, basso, oboe, oboe d'amore e continuo8.Grosser Herr und starker KönigAria in re maggiore per basso, tromba, flauto traverso, 2 violini, viola e continuo9.Ach, mein herzliebes Jesulein!Corale in re maggiore per coro, 3 trombe, timpani, 2 flauti traversi, 2 oboi, 2 violini, viola e continuoPrima esecuzione: Lipsia, Thomaskirche, 25 dicembre 1734Parte seconda:Und es waren HirtenCantata in sol maggiore per soli, coro e orchestraOccasione: 1° giorno dopo Natale10.Sinfonia (sol maggiore)per 2 flauti traversi, 2 oboi d'amore, 2 oboi da caccia, 2 violini, viola e organo11.Und es waren Hirten in derselben Gegend auf dem FeldeRecitativo in mi minore per tenore e organo12.Brich an, o schönes MorgenlichtCorale in sol maggiore per coro, 2 flauti traversi, 2 oboi d'amore, 2 oboi da caccia, 2 violini, viola e organo13.Und der Engel sprach zu ihnen: Fürchtet euch nichtRecitativo in re maggiore per tenore, soprano, 2 violini, viola e organo14.Was Gott dem Abraham verheissenRecitativo in sol maggiore per basso, 2 oboi d'amore, 2 oboi dea caccia e organo15.Frohe Hirten, eilt, ach eiletAria in mi minore per tenore, flauto traverso e organo16.Und das habt zum Zeichen: ihr werdet finder das KindRecitativo in re maggiore per tenore e organo17.Schaut hin! dort liegt im finstern StallCorale in do maggiore per coro, 2 flauti traversi, 2 oboi d'amore, 2 oboi da caccia, 2 violini, viola e organo18.So geht denn hin! ihr Hirten, gehtRecitativo in la minore per basso, 2 oboi d'amore, 2 oboi da caccia e organo19.Schlafe, meine Liebster, geniesse der Ruh'Aria in sol maggiore per contralto, flauto traverso, oboe d'amore, 2 oboi da caccia, 2 violini, viola e organo20.Und alsobald war da bei dem EngelRecitativo in re maggiore per tenore e organo21.Ehre sei Gott in der HoheCoro in sol maggiore per coro, 2 flauti traversi, 2 oboi d'amore, 2 oboi da caccia, 2 violini, viola e organo22.So recht, ihr Engel, jauchzt und singetRecitativo in mi minore per basso e organo23.Wir singen dir in deinem HeerCorale in sol maggiore per coro, 2 flauti traversi, 2 oboi d'amore, 2 oboi da caccia, 2 violini, viola e organoPrima esecuzione: Lipsia, Thomaskirche, 26 dicembre 1734

Das Weihnachtsoratorium gehört für viele Menschen zu Weihnachten so wie Glühwein oder Plätzchen backen, dabei schrieb Bach sein überwältigendes spirituelles Opus 1734 in 6 Teilen möglicherweise für den einmaligen Gebrauch im Gottesdienst und griff dafür auf ältere eigene Werke und ein altes Kirchenlied zurück. (Autor: Martin Zingsheim)

Online-Tickets für die Weihnachtsgottesdienste und ein Krippenweg durch unsere herrlich erleuchtete Altstadt. In diesem Jahr können wir mit Hilfe von QR-Codes auf den Spuren der Heiligen Familie wandeln und im Livestream der Kirchengemeinden Weihnachtslieder singen. Probst Thomas Eicker erzählt mir im Podcast von tollen und innovativen Aktionen, die einmal mehr zeigen, dass unser schönes Kempen ganz weit vorne ist. Es wird ein anderes aber garantiert unvergessliches Weihnachtsfest!

1. Bundestag debattiert über Staatsleistungen an die Kirchen. 2. Kirchensteuer reformieren: Vorschlag von Franz Segbers. 3. Samaveda: die Quelle der indischen Musik. 4. Themen der EKD-Synode. 5. Thomaskirche in Düsseldorf entwidmet. 6. Muslimin organisiert Schoah-Gedenken in Bielefeld. 7. Unsinn und Sinn.

Seit acht Jahren ist Tobias Koriath Kantor und Organist an der evangelischen Thomaskirche im Frankfurter Vorort Heddernheim. Er spielt die Orgel, arbeitet mit verschiedenen Chören von jung bis alt, unterrichtet, gibt und veranstaltet Konzerte. Eine ganz normale kirchenmusikalische Arbeit also, könnte man meinen, auch wenn gerade in diesem zwischen Kunst und Sozialarbeit changierenden Beruf "Normalität" ein schwieriger, stets sich verändernder Begriff ist. (Wdh. vom 26.03.2020)

Diana Rigg has died aged 82. Her breakthrough role was as Mrs Emma Peel in The Avengers, going on to have a distinguished career across film, theatre and television with roles including as a Bond Girl in Her Majesty's Secret Service, Lady Macbeth at the National Theatre and Olenna Tyrell in Game of Thrones. Charles Dance remembers the actress alongside Mark Gatiss who wrote an episode of Doctor Who for Diana especially. On the line from Beijing, Chinese pianist Lang Lang discusses his new recordings of Bach’s Goldberg Variations, the culmination of a 20-year musical journey for the musician. One version was recorded in the studio, the other in the Thomaskirche in Leipzig, Germany, where Bach worked and is buried. Cinemas have faced huge disruption through this pandemic - closing and now re-opening, so how have film distributors managed to get their movies seen? Kirsty asks film producer Julie Baines and Hamish Moseley of the independent distributor Altitude whether the altered landscape of the cinema industry is here for good. Presenter: Kirsty Lang Producer: Hannah Robins Studio Manager: Emma Harth

durée : 00:05:13 - Épisode 33 : Directeur du Collegium Musicum (à partir de 1729) - Parallèlement à ses responsabilités de Cantor à la Thomaskirche et de Director musices de Leipzig, Jean-Sébastien Bach s’active également hors du milieu liturgique ; il dirige en effet le Collegium Musicum, une des plus belles phalanges de musiciens de la ville ...

Autor: Pyka, Holger Sendung: Gottesdienst Hören bis: 19.01.2038 04:14

durée : 00:05:22 - Épisode 31 : Les cycles de cantates - par : Corinne Schneider - Le poste de Cantor de la Thomaskirche permet avant tout à Jean-Sébastien de se consacrer pleinement à la musique liturgique pour le culte luthérien. Il va enfin pouvoir accomplir ce qu’il n’avait finalement qu’ébauché à la chapelle de la cour de Weimar ... - réalisé par : Céline Parfenoff

durée : 00:05:13 - Épisode 33 : Directeur du Collegium Musicum (à partir de 1729) - par : Corinne Schneider - Parallèlement à ses responsabilités de Cantor à la Thomaskirche et de Director musices de Leipzig, Jean-Sébastien Bach s’active également hors du milieu liturgique ; il dirige en effet le Collegium Musicum, une des plus belles phalanges de musiciens de la ville... - réalisé par : Céline Parfenoff

Busoni; componist, pianist en Bach-liefhebber – hij ging zelfs tegenover de Thomaskirche in Leipzig wonen… Busoni’s bewerkingen behoren wat mij betreft tot de allermooiste Bach-arrangementen. ‘Ich ruf zu Dir, Herr Jesu Christ’, een intieme smeekbede. Johann Sebastian Bach / Ferruccio Busoni Koraalbewerking voor orgel BWV.639, “Ich ruf zu dir, Herr Jesu Christ” (arr). Vikingur Olafsson, piano Deutsche Grammophon 3’08’’

durée : 00:05:22 - Épisode 31 : Les cycles de cantates - par : Corinne Schneider - Le poste de Cantor de la Thomaskirche permet avant tout à Jean-Sébastien de se consacrer pleinement à la musique liturgique pour le culte luthérien. Il va enfin pouvoir accomplir ce qu’il n’avait finalement qu’ébauché à la chapelle de la cour de Weimar ... - réalisé par : Céline Parfenoff

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’’

Back in action! Brief remarks about the Good Friday livestream of Bach's St. John Passion in Benedikt Kristjánsson's incredibly powerful rendition, performed at the Thomaskirche in Leipzig, Germany. Must watch: https://www.youtube.com/watch?v=2Zwy1Gi4ob4 Also heard: Bio Unit's "You're Not Alone" https://files.freemusicarchive.org/storage-freemusicarchive-org/music/Nul_Tiel_Records/Bio_Unit/Malfunction/Bio_Unit_-_07_-_Youre_Not_Alone.mp3 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/chorantine/support

In der Thomaskirche in Leipzig erklingt am Karfreitag live eine Johannespassion. In Corona-Krisenzeiten scheint es unmöglich, Johann Sebastian Bachs riesiges Werk für Chöre, Solisten und großes Orchester aufzuführen, aber mit Hilfe der Technik und einer besonderen kammermusikalischen Fassung gelingt es doch. Julia Kaiser hat mit der Cembalistin Elina Albach gesprochen, die gemeinsam mit dem Tenor Benedikt Kristjánsson und dem Schlagzeuger Philipp Lamprecht die Johannespassion für Tenor, Cembalo, Orgel und Schlagwerk eingerichtet hat.

Die Pilotfolge von "Reißig und Völker müssen reden" - etwas aufgedreht sprechen Rising und Völker zum ersten Mal in die Mikrofone und erzählen von imganierten Kornflaschen, Bierfassritualen in der Jungen Gemeinde der Thomaskirche und Fatih Akins Verfilmung des Romans "Der Goldene Handschuh".

Ab heute wird alles anders, sagten sich Rising Reißig (Arzt) und Timm Völker (Patient). Ab dem Jahr 2020 wird ihre Konversationsreihe im Podcast-Format erscheinen, ungekürzt und erfüllt vom blechernen bis vollen Klang ihrer Stimmen. In der Pilotfolge sprechen sie übers Trinken, Völkers Abneigung gegenüber Korn, das medizinische Phänomen Uhrglasnägel am Beispiel des Serienmörders Fritz Honka und Reißigs Bierfass-Intiationen in der Jungen Gemeinde der Thomaskirche zu Leipzig.

Met zijn Magnificat schreef Bach’s tweede zoon een visitekaartje van zijn kunnen. Hij voerde het in 1750 uit in de Thomaskirche in Leipzig, vermoedelijk als sollicitatie, om zijn vader op te volgen. De commissie had waarschijnlijk geen oren aan hun hoofd, want het is een ‘beste Bach’! Carl Philipp Emanuel Bach, Magnificat, Wq.215, Akademie fur Alte Musik Berlin & RIAS Kammerchor olv Hans-Christoph Rademann

Bach volgde Kuhnau op als Thomascantor in Leipzig. Maar hoe klinkt de muziek van Kuhnau? Vandaag zijn meest omvangrijke werk: het Magnificat, geschreven voor gebruik in de Thomaskirche. Johann Kuhnau, Magnificat, Opella Musica & Camerata Lipsiensis olv Gregor Meyer

Nicht erst bei Cindy & Bert heißt es "Immer wieder sonntags", sondern bereits zweieinhalb Jahrhunderte zuvor beim Leipziger Thomaskantor Johann Sebastian Bach. Dann nämlich steht in aller Regel eine neue Kantate für den Gottesdienst an. Manchmal vertonte Bach aber auch weltliche Texte wie im Falle von "Ich bin in mir vergnügt". Sehr zur Freude von Autor Martin Zingsheim...

In dieser Folge mit folgenden Themen:Mann wegen Volksverhetzung verurteilt, Kampf gegen Eis und Schnee, Brücke an der Wittenberger Straße muss schnell fertig werden, Stadt nimmt 260000 € über Verwarngelder ein, Tafel erhält mehr Geld von der Stadt, Erdogan klagt in Elmshorn und Überfall in Kneipe.

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

Gewandhaus, Oper, Thomaskirche – die Musiker des Gewandhausorchesters können sich über mangelnde Abwechslung nicht beklagen. Dank der drei Spielstätten bekommen sie es mit höchst unterschiedlichem Repertoire zu tun. Inwiefern müssen Musiker sich darauf einstellen und wie entstand die Dreigleisigkeit? Zeit für einen Saitenwechsel.Der Artikel zum Nachlesen: https://detektor.fm/musik/saitenwechsel-die-spielstaetten-des-gewandhausorchesters

Bach's St Matthew Passion was written in 1727 and was probably first performed as part of the Good Friday Service at Thomaskirche in Leipzig. This programme explores ways in which Bach's St Mattew Passion touches and changes people's lives. Guitarist Andrew Schulman describes what happened when he was played this music whilst he was in a coma. James Jacobs talks about the St Matthew Passion providing solace in difficult times during childhood. And singer Emma Kirkby, conductor Paul Spicer and musical historian Simon Heighes explore how the music works and what it's like to perform. Producer: Rosie Boulton.

Enregistrement public du concert inaugural du Bach Collegium Paris le vendredi 9 juillet 2010 à 20h30 en la Basilique Sainte-Clotilde (Paris 7e). Patrizia METZLER, directeur musical. Chiara SKERATH, soprano. Antoine LE ROUX, contre-ténor. David TRICOU, ténor. Émilien HAMEL, baryton. BACH Jean-Sébastien (1685-1750) Cantate BWV 147 “Herz und Mund und Tat und Leben” “Jesus bleibet meine Freude” (choral final) J.-S. Bach écrivit la cantate 147 pour célébrer la fête de la Visitation de la Vierge Marie, et la première exécution de la pièce date de sa première année à la Thomaskirche de Leipzig, le 2 juillet 1723. Il avait composé en 1716, lors de son séjour à Weimar, une pièce du même nom, comportant six mouvements : elle devait y être jouée à l’occasion du quatrième dimanche de l’Avent. Les révisions apportées à l’œuvre pour son exécution à Leipzig inclurent des citations conséquentes tirées du Cantique de Marie — le Magnificat de l’Évangile selon Luc (1, 46-56) —, lui permettant ainsi de remplir les conditions liturgiques de la fête de la Visitation. Le texte de l’œuvre originelle de Weimar fut composé par le librettiste Salomon Franck, et bien qu’il ne fût pas inapproprié pour la fête de la Visitation, Bach choisit d’étendre l’œuvre de six à dix mouvements, afin de satisfaire à la totalité des obligations liturgiques en vigueur à Leipzig. Les mouvements additionnels comptaient trois récitatifs et le mouvement conclusif de la première section, et le mouvement final de l’œuvre fut également remplacé par une autre strophe du texte du choral de Martin Jahn. ... poursuivez votre lecture en consultant la page complète du programme : http://www.bachcollegiumparis.org/repertoire/bach-cantate-bwv-147 © Tous droits réservés Bach Collegium Paris - Paris, France

First public recording of the Bach Collegium Paris on July, 9th 2010 in Basilique Sainte-Clotilde (Paris 7th). Patrizia METZLER, musical director. Chiara SKERATH, soprano. Antoine LE ROUX, contretenor. David TRICOU, tenor. Émilien HAMEL, baryton. BACH Johann-Sebastian (1685-1750) Cantata BWV 147 “Herz und Mund und Tat und Leben” “Jesus bleibet meine Freude” (final choral) J.S. Bach wrote Cantata 147 to celebrate the feast of the Visitation of the Virgin Mary and it was first performed during his first year at the Thomaskirche in Leipzig on July 2, 1723. In 1716 he had composed a six movement work with the same title during his time in Weimar where it was intended to be sung on the 4th Sunday of Advent. The revisions he undertook for the performance in Leipzig included substantial citatations from the Song of Mary (the Magnificat in Luke, chapter 1) thus making it fit into the liturgical requirements for the Feast of the Visitation. The text for the original Weimar work was composed by the librettist Salomon Franck and although it was not unacceptable for the Feast of the Visitation, Bach expanded from the work from six into ten movements to satisfy all the liturgical requirements in Leipzig. The additional movements included three recitatives and the concluding movements of the first section, as well as the replacement of the final movement of the work with another stanza from Martin Jahn's chorale text. ... read more about this program on : http://www.bachcollegiumparis.org/repertoire/bach-cantate-bwv-147 © All right reserved Bach Collegium Paris - Paris, France