Podcasts about wachet

On this week's episode of Inside the Music, Derek takes a look at the compositions and transcriptions of composer-performers Ferruccio Busoni, Pablo Casals, and Astor Piazzolla. This episode features live CRC performance by pianists Frederic Chiu, Arnaldo Cohen, and Dubravka Tomsic; Budapest Strings; and the Kremerata Baltica. Bach‐Busoni: Chorale‐Prelude, Wachet auf, ruft uns die stimme, BWV 140Frederic Chiu [11/13/2002 performance]Bach‐Busoni: Chaconne from Partita No. 2 in D Minor, BWV 1004Arnaldo Cohen [1/21/2001 performance]Bach‐Busoni: Prelude and Fugue in D Major, BWV 532Dubravka Tomsic [3/24/2000 performance]Casals: Song of the BirdsBudapest Strings [11/13/2002 performance]Piazzolla: OblivionKremerata Baltica [4/28/2002 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

"Angedacht" – das geistliche Wort und eine kleine Portion Optimismus für den Start in den Tag. Heute mit Renate Höppner aus Magdeburg.

Music for Meditation, Awake Calls the Voice to Us, "Wachet auf, ruft uns die Stimme BWV 641" (Johann Sebastian Bach: 1685-1750)

gesprochen von Guido Erbrich

In der stillen Weite öffnet sich Dein Herz und findet Ruhe. Atemzüge und Musik, die nur Dir gehören. Wenn in der Einsamkeit Freude blüht und Dankbarkeit in Deinem Inneren leuchtet. Lausche diesen Klängen vollkommen frei. Du möchtest Philipps Playlist live im Planetarium Wolfsburg erleben? Dann klicke auf diesen Link – dort findest Du alle Infos, die Du brauchst: https://www.ndr.de/kultur/musik/Sternensound-Philipps-Playlist-im-Planetarium-Wolfsburg,planetariumwolfsburg100.html Diese Musikstücke hörst Du in dieser Folge: Johann Sebastian Bach – "Wachet auf, ruft uns die Stimme" // Juliana Koch – "The Piper Of Dreams" // Caroline Eidsten Dahl – "12 Fantasias For A Solo Flute" // Johann Sebastian Bach – "Cello Suite Nr. 1 in G-Dur" // Polarkreis 18 – "Allein Allein" // Den Podcast "Talk mit Thees" von SWR 3 findest Du hier: https://www.ardaudiothek.de/sendung/talk-mit-thees/41984574/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

Kurzbotschaft von Horst Kröker

Yes -- the famous one! One of Bach's most universal melodies, the melody in the strings opens a profoundly perfect setting of a verse of the hymn "Wake, Awake, for Night Is Flying" in the central movement (4th of 7) in the beloved masterwork "Wachet auf" cantata. Here is the exceptional performance by the Netherlands Bach Society. Why does this opening string melody stick with just about all listeners? There are secrets hidden in the very first few notes that we will dissect. Then there is the stately hymn tune which Bach seamlessly incorporates, with a text calling for longing, joy, love, and reverent magnificence. PATREON for A Moment of Bach - always optional, always appreciated. Huge thanks as always to the Netherlands Bach Society for allowing us to use their audio examples on our podcast. Thanks also to Syndey LaCom for our podcast artwork.

Danske komponister/Danish composers/Composittori danesiDietrich Buxtehude (1637-1707) - Cantata: Wachet auf, ruft uns die Stimme, BuxWV 1011.       Wachet auf, ruft uns die Stimme 2.       Aleluja!                                          4:103.       Sion hört die Wächter singen      6:544.       Gloria sei dir gesungen, mit Menschen und englischen Zungen     9:265.       Ewig in dulci jubilo                       11:42 Deutsch KammerorchWilhelm Ehmann, conductor About composer ******Claus Schall (1757 - 1835) – Concerto per violino n.4 in re maggiore (1790)1.       Allegro     13:052.       Adagio      25:513.       Allegretto 32:03 Kai Laursen, violinoAalborg Symphony OrchestraAlf Sjøen, conductor About composer

Im Südturm des schlanken Turmpaares der St.-Laurentius-Kirche läuten vier 1930 und 1954 in Rothenburg und Stuttgart gegossene Glocken. Ganz schlicht ist ihr Schmuck, kurz und eindringlich ihre Inschriften und Botschaften: "Kommet!" - "Wachet!" - "Betet!" - "Dienet!".

Wake Awake for Night Is Flying, Hymn Tune is "Wachet auf"

Hymn Arrangements,Meditation,Prayer,Wake Awake for Night Is Flying, Hymn Tune is "Wachet auf"

Wake Awake for Night Is Flying, Hymn Tune is "Wachet auf"

Hymn Arrangements,Meditation,Prayer,Wake Awake for Night Is Flying, Hymn Tune is "Wachet auf"

Thomas Inhoff predigt im Missionswerk Karlsruhe Auch wenn wir gerne wüssten, was uns in der Zukunft erwartet, in der Rückschau zeigt sich, dass die intelligentesten Leute in ihren Vorhersagen häufig daneben lagen. Dennoch können wir mit Gottes Hilfe auf alles vorbereitet sein und die Anweisung dafür ist erstaunlich einfach. Wachet, steht im Glauben, seid mutig und seid stark! Alle eure Dinge lasst in der Liebe geschehen! 1. Korinther 16,13-14 https://missionswerk.de/spenden

Die vier Glocken des evangelischen Gotteshauses - 1899 und 1949 gegossen - läuten heute ins Land. Sie erklingen im "Wachet-auf-Motiv" und laden ins Kircheninnere ein zum Betrachten des Kanzelaltars im Markgrafen-Stil, der Orgel gleich darüber mit ihrem spätbarockem Prospekt, des klassizistischen Taufsteins - und des messing-vergoldeten Kronleuchters.

Dramatischer geht es kaum: Bach zeichnet in der Leipziger Erweiterung einer Weimarer Kantate das schonungslose Bild des Weltgerichts. Seine "Apocalypse now"-Kantate.

Wachet und betet allezeit. Lk 21, 34-36

REGER: Concierto en estilo antiguo, Op. 123 (18.36). Orq. Sinf. de Nuremberg. Fantasía sobre el coral “Wachet auf, ruft uns die stimme”, Op. 52 nº 2 (20.11). G. Weinberger (órg.). Tonadas sencillas, Op. 76 (selec.) (nº 1, 3, 5 y 6) (6.21). F. May (mez.), B. Renzikowski (p.). Escuchar audio

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Deze week luisteren we naar kerkmuziek. Vandaag laat Ab je een religieuze cantate van Johann Sebastian Bach horen, maar dan in een uitvoering van het Palladian Ensemble. De cantate is gebaseerd op het 16e eeuws koraal Wachet auf, ruft uns die Stimme met tekst en melodie van Philipp Nicolai - een pastor en dichter van geestelijke liederen.

In der Reihe der Fastenpredigten 2023 im Hildesheimer Dom sprach Weihbischof Heinz-Günter Bongartz am 5. März 2023 zum Thema "Wachet auf (Offb 2, 1-7) - Die erste Liebe wiederentdecken!"

Album: Max Reger Selected Organ Works, Volume 1 – Disc 2MHS 1563 Artist: Werner Jacob Composer: Max Reger Symphonic Fantasia and Fugue “Inferno Phantasie,” op. 57Canzona in E-flat major from op. 65, no. 9Fantasia on “Wachet auf, ruft uns die Stimme” Organ: 1963 G.F. Steinmeyer Meistersinger Hall, Nürnburg, Germany Interested in helping to make At...

Wachet auf, Deutschland. Der einstige und der zukünftige Morgenthau Plan ist jetzt bei CultureWars.com erhältlich. https://culturewars.com/news/der-einstige-und-der-zuknftige-morgenthau-plan ——— Buy Dr. Jones books: https://www.fidelitypress.org/ Subscribe to Culture Wars Magazine: https://www.culturewars.com Donate: https://culturewars.com/donate ——— Follow Dr. E. Michael Jones: Cozy: cozy.tv/emichaeljones Bitchute: www.bitchute.com/emichaeljones Gab: gab.com/emichaeljones Telegram: https://t.me/RealEMichaelJones Odysee: https://odysee.com/@E.MichelJones:f Rumble: https://rumble.com/c/c-920885 Twitter: twitter.com/culturewarsmag Podcast RSS: https://culturewars.com/videos?format=rss Sensus Fidelium: https://sensusfidelium.tv/@EMichaelJones

Today's List■ J.S.Bach: Cantata BWV 140 "Wachet auf, ruft uns die Stimme" - 4.Zion hört die Wächter singen,Choral (Tenor):/ Cantata BWV 12 "Weinen, Klagen, Sorgen, Zagen" - 1. Sinfonia/ Cantata BWV 208 "Was mir behagt, ist nur die muntre Jagd!" - 9. Schafe können sicher weiden, Aria (Soprano) -- J.S.バッハ: カンタータ 第140番 『目覚めよと、我らに呼ばわる物見らの声』 第4曲 シオンは物見らの歌うのを聞けり（コラール、テノール）/ カンタータ第12番『泣き、嘆き、憂い、怯え』第1曲 シンフォニア/ カンタータ第208番 『楽しき狩こそ我が悦び』第9曲 羊は憩いて草を食み（アリア、ソプラノ） 明けましておめでとうございます！昨年もなんとか配信を続けられたことに胸を撫で下ろしつつ、新年を迎えました。今年も一層励んで参りたいと思いますので、何卒よろしくお願い申し上げます。 厳かな気持ちで、初心に戻り、邪念を浄化させたい年明けには、バッハを聴くのが良いでしょう。 ヴァイマール時代に勤めていたのは、「教会」と言ってしまったのですが、申し訳ありません、正確には「宮廷」です。 この時代の作曲家（ほとんどの場合、兼オルガニスト）は大体、宮廷か教会かに雇われないと食べていけなかったのですが、バッハも職を求めて街を点々とし、教会カンタータを書き続けました。日常的な礼拝に、それだけ音楽が必要だった時代でした。都度、変更や楽器の差し替えなどが必要になってくるので、一回上演されたカンタータが全く同じ形で再演されることはまずなかったと言えるでしょう。 ちなみにこのチャンネルで頻出する、フランス作曲界における重要なステータス「ローマ賞」の審査で若き作曲家たちに最終課題として与えられるのが、カンタータです。カンタータを作曲する（できる）こということが、どれだけ重要なこととされていたのかがよくわかりますね。

«Wachet auf ruft uns die Stimme» ist eines der bekanntesten Orgelstücke von J.S. Bach. Dieser Choral ist allerdings keine Originalkomposition für Orgel, sondern die Bearbeitung des Kantatensatzes «Zion hört die Wächter singen» aus der Kantate «Wachet auf», BWV 140.  Unter dem Titel «Sechs Choräle unterschiedlicher Art» hat Bach eigene Kantatensätze auf die Orgel übertragen und sie drucken lassen. Heute sind die Choräle - nach ihrem Erstdruck durch Johann Georg Schübler 1748/49 – als Schübler-Choräle bekannt. Die drei- und vierstimmigen Choralfantasien gehören zu den Werken, in denen Bach seine ganze Meisterschaft zeigen wollte. Sonst wurde zu Lebzeiten Bachs fast nichts aus seinen zahlreichen Kantaten im Druck publiziert. In der Diskothek vergleichen wir verschiedene Interpretationen von Orgelchorälen und Interpretationen des Kantatensatzes, der dem Orgelstück zu Grunde liegt. Gäste sind der Organist Tobias Willi und der Organist und Cembalist Jörg-Andreas Bötticher. Erstausstrahlung: 03.12.2018

Wellness für die Seele – durch meditative Lieder. Eines davon, den Taizé-Gesang "Bleibet hier und wachet mit mir", können Sie in dieser Folge hören als Instrumentalversion mit Orgel und Violine.

Andacht zum Buß- und Bettag 2022 Gegen die Wand laufen? 01 Vorspiel - 02 Begrüßung - 03 Aus tiefer Not lasst uns zu Gott - 04 Psalm 130 - 05 Gebet - Komm in unsre stolze Welt - - 07 Predigt zu Offenbarung 3, 1-6 - 08 Wachet auf ruft uns die Stimme - 09 Fürbitte - 10 Vaterunser - 11 Segen - 12 Nachspiel Predigt & Liturgie: Robert Vetter, Stuhr, Tel. 0421/561578 Christoph Martsch-Grunau, Hl.-Geist, Tel. 04221/9813627 Klavier, Orgel und Gesang: Olga Burmeister, Kirsten Artal und Irina Marchenko Hier können Sie uns Rückmeldung zur CD geben: Tel. 04221/9813628 Bitte spenden Sie zugunsten der Aktion Brot für die Welt IBAN: DE10100610060500500500 BIC: GENODED1KDB (Bank für Kirche und Diakonie)

Was bedeutet das Gebet für uns im 21. Jahrhundert? Ist es für uns selbstverständlich, dass wir zu Jesus beten können? Und wie können wir den Auftrag des Gebets in unserem Alltag umsetzen? Unser Referent Johann zeigt in seinem Impuls die Wichtigkeit unseres Gebets auf.

Cecilia Kryzda and Nathan Platte talk with Jack Curtis Dubowsky about his recent book, Easy Listening and Film Scoring, 1948-1978 (Routledge, 2021). A composer, performer, and scholar, Jack illuminates the vast and underappreciated opportunities easy listening provided film composers and how certain styles and habits shaped later music and film practices. Jack also explains the process of writing the book, including his inspiration behind the project and how his vision for the book changed over time. Jack's book spotlights an array of fascinating albums and films. His recommendations for listeners are: Music: Michel Legrand, I Love Paris (preferably the original mono record) Michel Legrand, Archi-chordes Cecil Holmes, The Black Motion Picture Experience Charlie Parker, Charlie Parker with Strings Wendy Carlos, Sonic Seasonings Stu Phillips & The Hollyridge Strings (all the albums) Films and TV Breakfast at Tiffany's (1961, music by Henry Mancini) Peter Gunn television series (1958-61, music by Henry Mancini) Umbrellas of Cherbourg (1964, music by Michel Legrand) Partir Revenir (1985, music by Michel Legrand) Mahogany (1975, music arranged by Lee Holdridge) Battlestar Galactica (1979, music by Stu Phillips) Watership Down (1978, music by Angela Morley) The Lawrence Welk Show (1951-1982) The Liberace Show (1952­-1969) The musical excerpts heard in the episode are discussed in Jack's book. In order of appearance, they are: Michel Legrand, I Love Paris, “La Vie en rose” (Édith Piaf, Louiguy) Quincy Jones, Quincy Jones Explores the Music of Henry Mancini, Theme from Charade (Henry Mancini) Hollyridge Strings, The Best of the Beatles, vol. 2, “Ticket to Ride,” (Lennon-McCartney) Ramsey Lewis, The Movie Album, Theme from The Pawnbroker (Quincy Jones) Swingle Singers, Jazz Sebastian Bach, “Fugue in D Minor” and “Wachet auf” (J. S. Bach) Henry Mancini, Breakfast at Tiffany's, “Moon River (Original Main Title)” (Mancini) Henry Mancini, Encore, “Foreign Film Festival” (theme from Legrand's Umbrellas of Cherbourg) Charlie Parker, Charlie Parker with Strings, “Laura” (David Raksin) Michel Legrand, Archi-chordes, “Di-gue ding ding” (Legrand)

Composer Kian Ravaei joins us this week as guest and shares with us the powerful spiritual connection points that Bach has made recently in his life in this interview.  Kian describes the power that the music of Wachet auf, ruft uns die Stimme (cantata 140), the St. Matthew Passion, and the collected chorales have had on him. We discuss the particular powers of Bach's music to move us spiritually, give us autonomy as a listener, inspire us to meaningfully create in times of hardship and times of grief, and guide us to compose with proper technique. Thanks Kian for sharing your story with us on our podcast!  As Kian notes, the "Wachet auf" cantata centers on the story of the wise and the foolish bridesmaids -- a parable about being ready. The bridesmaids (us) await the groom (Jesus Christ). The most famous moment is the middle chorale verse sung by the tenors, but at the end of this interview we will play for you the Netherlands Bach Society recording of the closing chorale which summarizes our interview and the meaningfulness of the chorales to us composers.  Cantata 140: https://www.youtube.com/watch?v=DqZE54i-muE St. Matthew Passion: https://youtu.be/ZwVW1ttVhuQ 

2022.05.01 - Sonntag Andreas Massau Markus 13, 31 - 37 Wachet und betet

13. März 2022 (Reminiszere) - „Wachet und betet“(Mt 26,36–46) by Pfarrer Alexander Felchle

Gedanken zu Matthäus 26, 36-46, Reminiszere, 13.03.2022

"Bleibet hier und wachet mit mir, wachet und betet" – dieser Satz, den Jesus zu seinen engsten Freunden sagte, steht im Mittelpunkt dieser Episode. Uns bewegen Gedanken rund um die Frage, was wachsam sein und beten in der aktuellen Situation für uns bedeutet, dazu erklingt Musik, die diese Zeilen aufnimmt.

Ganz anders hätten wir uns das vorgestellt mit Christus: Einen triumphierenden Sieger hätten wir gebraucht. Stattdessen scheint er ohnmächtig angesichts des Leidens. Ist er wirklich Immanuel, Gott mit uns? Oder ist er vielleicht gerade da Immanuel, Gott mit uns?

Wachet, stehet im Glauben, seid mutig und seid stark (1Kor 16,13)

Leite bitte diese Andacht an Deine Freunde und bekannte weiter, die eine Ermutigung im Glauben brauchen. Abonniere meine Andachten unter www.lebemitgott.de, meinen Glaubensblog unter www.werglaubtdersiegt.de und meinen Podcast unter www.dersiegertalk.de. Ich würde mich auch auf Deine Unterstützung meiner christlichen Medienarbeit freuen. Mehr Infos dazu hier. --- Send in a voice message: https://anchor.fm/lebe-mit-gott/message

Immer wieder erklingt es in diesen tagen, dass wir wach werden sollen, wir singen "Wachet auf!" und wissen eigentlich gar nicht, was wir dann machen sollen. Was soll denn werden, wenn ich wach bin? Wofür lohnt es sich aufzustehen und die Müdigkeit aus den Augen zu reiben? "Advent ist eine Zeit der Erschütterung, in der der Mensch wach werden soll zu sich selbst. Die Voraussetzung des erfüllten Advent ist der Verzicht auf die anmaßenden Gebärden und verführerischen Träume, mit denen und in denen der Mensch sich immer wieder etwas vormacht. Er zwingt so die Wirklichkeit, ihn mit Gewalt zu sich zu bringen, mit Gewalt und viel Not und Leid. Das erschütterte Erwachen gehört durchaus in den Gedanken und das Erlebnis des Advents. Aber zugleich gehört viel mehr dazu. Das macht ja die heimliche Seligkeit dieser Zeiten aus und zündet das innere Licht in den Herzen an, dass der Advent gesegnet ist mit den Verheißungen des Herrn. Die Erschütterung, das Aufwachen: damit fängt das Leben ja erst an, des Advents fähig zu werden. Gerade in der Herbheit des Aufwachens, in der Hilflosigkeit des Zusichselbstkommens, in der Erbärmlichkeit des Grenzerlebnisses erreichen den Menschen die goldenen Fäden, die in diesen Zeiten zwischen Himmel und Erde gehen und der Welt eine Ahnung von Fülle geben, zu der sie gerufen und fähig ist." Alfred Delp

Für den 2. Advent hat Bach keine Kantate hinterlassen – Maul & Schrammek widmen sich daher einem Evergreen, der einen adventlichen Text hat: „Wachet auf, ruft uns die Stimme“. Auch für Bach war das ein Lückenfüller.

Synopsis As a busy church musician Johann Sebastian Bach wrote around 300 sacred cantatas. That seems a high number to us – but consider that his contemporaries Telemann and Graupner composed well over a thousand cantatas each! In what surviving documents we have, Bach himself rarely uses the Italian term “cantata” to describe these pieces, preferring “concertos” or simply “the music” to describe these works intended for Lutheran church services. It was only in the 19th century, as Bach's music was being collected and catalogued, that the term “cantata” would become the official label for this sizeable chunk of Bach's output. On today's date in 1731, the 27th Sunday after Trinity that year, Bach presented what would become one of his most popular cantatas: “Wachet auf, ruft uns die Stimme”, or “Awake, the Voice calls to us.” In that 19th century catalog of Bach's works, this is his Cantata No. 140. The text is based on a Gospel parable recounting the story of the wise and foolish virgins, who are called, ready or not, to participate in a wedding feast. The opening choral melody may have been already familiar to Bach's performers and congregation, but his dramatic setting of it is downright ingenious. Music Played in Today's Program J.S. Bach (1685 – 1750) — Cantata No. 140 (Wachet auf, ruft uns die Stimme) (Bach Ensemble; Helmuth Rilling, cond.) Laudate 98.857

Från Uppsala Domkyrka med domprost Annica Anderbrant och Uppsala Domkyrkas Gosskör. "Domsöndag - kyrkoårets sista söndag är allvarlig men också full av glädje. Vilka texter och teman det än handlar om, så är varje söndag en dag för hopp och framtidstro." Annica AnderbrantMedverkande:Celebrant/predikant Annica Anderbrant Präst Sam Douhan, Per-Anders Sölvin Textläsare Jörgen Ebbersten, Kristina Rydberg Petersson Förebedjare Gabriel Wik Organist Pontus Leitz Kör Uppsala domkyrkas gosskör Dirigent Margareta Raab Violin 1 Elin Rubinsztein Violin 2 Thomas Andersson Viola Elisabeth Arnberg Cello Ulrika Edström Bas Walter McTigert Pukor Ivar Koij Texter:Jesaja 65:17-19 2 Petrusbrevet 3:8-13 Matteus 25:31-46Musik:Introitus (Matt 24, Ps 50) Sv Ps 490 Guds Son en gång i morgonglans (A Frostenson/engelsk mel) The Dead Shall Live (John Dryden/G F Händel) Sv Ps 169 I himmelen, i himmelen (L Laurinus/norsk-svensk folkmel.) Wachet auf (Philipp Nicolai/J S Bach) Sv Ps 174 Herre när din dag är inne (Svein Ellingsen/H Gullichsen) In Paradisum (Gabriel Fauré)Producent Katarina Josephsson Tekniker Björn Söderholm, May-Britt Rylander liv@sverigesradio.se

Veckans morgonandakter i försommartid hålls av prästen och psykoterapeuten Albin Tanke som arbetar i Svenska Kyrkan i Malmö. Vår möjlighet till vila, reflektion och andlig fördjupning ligger kanske mycket närmare oss själva än vad vi tror. Ur dagens andakt Text 1 Korintierbrevet 3:10-13, 18-20 Musik JS Bach, Wachet auf, ruft uns die Stimme Helene Sjöholm och Duvemålakören, Kärlekens tid Producent Agneta Nordin, Lokatt Media liv@sverigesradio.se För Sveriges Radio Malmö

Veckans morgonandakter i försommartid hålls av prästen och psykoterapeuten Albin Tanke som arbetar i Svenska Kyrkan i Malmö. Det är lätt att var efterklok. När någon varit taskig mot mig så vet jag precis vad jag borde svarat. Ur dagens andakt Text Jeremia 1:4-8 Musik JS Bach, Wachet auf, ruft uns die Stimme Thylle och Lommra, Högt i Stjärnehimlen Producent Agneta Nordin, Lokatt Media liv@sverigesradio.se För Sveriges Radio Malmö

Veckans morgonandakter i försommartid hålls av prästen och psykoterapeuten Albin Tanke som arbetar i Svenska Kyrkan i Malmö. Försommartiden kan vara underbar. Men den här tiden kan också vara förknippad med helt andra känslor. Ur dagens andakt Text Titus 3:4-5 Musik JS Bach, Wachet auf, ruft uns die Stimme De blomster som i marken bor, Solveig Ågren Producent Agneta Nordin, Lokatt Media liv@sverigesradio.se För Sveriges Radio Malmö

Veckans morgonandakter i försommartid hålls av prästen och psykoterapeuten Albin Tanke som arbetar i Svenska Kyrkan i Malmö. Vi lever i, av och genom skaparkraften. Det blir särskilt tydligt i denna försommartid. Ur dagens andakt Text Psaltaren 68:10 Musik JS Bach, Wachet auf, ruft uns die Stimme Annika Bjurling, Här en källa rinner Producent Agneta Nordin, Lokatt Media liv@sverigesradio.se För Sveriges Radio Malmö

Veckans morgonandakter i försommartid hålls av prästen och psykoterapeuten Albin Tanke som arbetar i Svenska Kyrkan i Malmö. Vilket vackert ord, försommaren. Det är så hoppingivande. Jag försöker samla ord som är hoppingivande och hålla dem nära mig. Ur dagens andakt Text Jesaja 54:10 Musik JS Bach, Wachet auf, ruft uns die Stimme. Marlena Ernman, Den blomstertid nu kommer Producent Agneta Nordin, Lokatt Media liv@sverigesradio.se För Sveriges Radio Malmö

Den haut so schnell nichts um

PRAETORIUS: Wachet auf, ruft uns die stimme nº 21 (4.03). Es ist ein ros’ entsprungen a 4 voces (3.03). The Tallis Scholars. Dir.: P. Phillips. Danzas (selec. de Terpsichore musarum aoniarum quinta) (14.53). The Parley of Instruments. Dir.: D. Hill. SWEELINCK: Mon Dieu me paist sous sa puissance haute (Salmo 23 a 4-6 voces) (7.50). Estans assis aux rives aquatiques (Salmo 137 a 5 voces) (2.28). Mon coeur est dispos, o mon Dieu (Salmo 108 a 6 voces) (2.05). Beati pauperes spiritu a 5 voces (4.34). Coro de Cámara de Holanda. Dir.: P. Herreweghe. Escuchar audio

01.04.2021 19:30: Andreas Schäfer - Jesus in Gethsemane - Wachet und betet! (Mt. 26, 36-46) - Gottesdienst

O compositor alemão Johann Sebastian Bach completou 336 anos no dia 21 passado. Bach nasceu em 21 de março de 1685, na cidade de Eisenach, na Turíngia, no leste da Alemanha. A data foi comemorada ao longo deste mês no programa Manhã com Bach, da Rádio USP (93,7 MHz). Nos dias 20 e 21 de março de 2021, o programa abordou a última, mais longa e mais produtiva fase da carreira de Bach como músico – os 27 anos em que atuou em Leipzig, como Kantor (diretor de música) da Igreja de Saint-Thomas, entre 1723 e 1750. Como exemplo da atuação de Bach nesse período, foram exibidas duas obras compostas por Bach em Leipzig: o Concerto para Cravo em Fá Maior (BWV 1057) e a cantata Wachet auf, ruft uns die Stimme, “Despertai, a voz nos chama” (BWV 140). As outras fases da carreira de Bach foram abordadas nas duas edições anteriores do programa, que também comemoraram os 336 anos do compositor. Nos dias 6 e 7 de março, o destaque foram os anos iniciais da sua carreira, vividos entre 1703 e 1708 nas cidades de Arnstadt e de Mühlhausen. No fim de semana seguinte, dias 13 e 14, Manhã com Bach tratou dos anos em que Bach atuou nas cortes de Weimar, entre 1708 e 1717, e de Köthen, entre 1717 e 1723. As edições anteriores estão disponíveis neste link. Ouça no link acima a íntegra do programa. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast na área de podcasts do Jornal da USP. As edições anteriores de Manhã com Bach estão disponíveis neste link.

Dr. Karoline Rittberger-Klas, Tübingen, Evangelische Kirche: Wenn wir Angst bekommen, dann brauchen wir jemanden, der uns beisteht.

In our third episode, Alex introduces one of Bach's most beloved church cantatas: "Wachet auf" -- "Wake up!" The watchmen on the tower are calling! At a certain magical moment, Bach removes the bass instruments so we can hear the bright, ringing voices announcing that Christ is coming to the world. Alex also describes the beauty of the rest of the cantata, with audio examples from the Netherlands Bach Society's performance. BWV 140 opening chorale: https://www.youtube.com/watch?v=DqZE54i-muE

Leite bitte diese Andacht an Deine Freunde und bekannte weiter, die eine Ermutigung im Glauben brauchen. Abonniere meine Andachten unter www.lebemitgott.de und meinen Podcast unter www.dersiegertalk.de. Ich würde mich auch auf Deine Unterstützung meiner christlichen Medienarbeit freuen. Mehr Infos dazu hier. --- Send in a voice message: https://anchor.fm/lebe-mit-gott/message

Nos dias 9 e 10 de janeiro de 2021, o programa Manhã com Bach, da Rádio USP (93,7 MHz), apresentou a cantata Zerreißet, zersprenget, zertrümmert die Gruft, “Destroçai, dissipai e rompei a sepultura” (BWV 205), de Johann Sebastian Bach. Composta em 1725, ela foi encomendada por estudantes da Universidade de Leipzig, que com ela queriam homenagear o professor de Direito August Friedrich Müller. O programa apresentou também o prelúdio coral Wachet auf, ruft uns die Stimme, “Despertai, a voz nos chama” (BWV 645). Em razão das férias, essa edição de Manhã com Bach foi uma reapresentação do programa exibido em 27 e 28 de abril de 2019. Ouça no link acima a íntegra do programa. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast na área de podcasts do Jornal da USP. As edições anteriores de Manhã com Bach estão disponíveis neste link.

Johann Sebastian Bachi kantaadi "Wachet auf, ruft uns die Stimme" BWV 140 ning valitud osad kantaadist "Ein feste Burg ist unser Gott" BW 80 esitavad Lõuna-Saksa Madrigalikoor, Consortium Musicum ja dirigent Wolfgang Gönnenwein.

Johann Sebastian Bachi kantaadi "Wachet auf, ruft uns die Stimme" BWV 140 ning valitud osad kantaadist "Ein feste Burg ist unser Gott" BW 80 esitavad Lõuna-Saksa Madrigalikoor, Consortium Musicum ja dirigent Wolfgang Gönnenwein.

Die evangelische Gethsemane-Kirche in Berlin war ein Sammelpunkt für DDR-Oppositionelle. Später kam es hier zu politischen Gebeten für Peter Steudtner, den in der Türkei festgenommenen Menschenrechtler. Jetzt wird gebetet für Menschen im von politischen Unruhen erschütterten Belarus. Von Thomas Klatt www.deutschlandfunk.de, Tag für Tag Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Die Kantate „Wachet! betet! betet! wachet!“ BWV 70a komponierte Johann Sebastian Bach 1716 in Weimar. Im Advent 1716 hat Bach drei Kantaten komponiert. Bernhard Schrammek und Michael Maul sprechen über die Gründe.

På andra söndagen i advent tänder prästen Lisa Tegby adventsljus och talar om ett trotsigt hopp i en mörk adventstid. Från Ålidhemskyrkan i Umeå. Du kan lyssna på eller ladda ner predikan i gudstjänsten separat. Advent är mörker och kyla står det i en adventspsalm med text av Margareta Melin. Kanske känns adventstiden i år extra mörk och kall, med oro och ensamhet på grund av corona. Mitt i mörkret tänds adventsljusen, en symbol för adventstidens hopp och förväntan. På andra söndagen i advent tänder prästen Lisa Tegby två ljus och predikar utifrån temat Guds rike är nära. Det är advent. Vi väntar på julen. Och advent betyder faktiskt inte väntan utan just ankomst. Guds rike är nära redan här och nu. Livet kan vara svårt, begränsat och komplicerat. Men jag behöver inte huka mig. Jag får lita på att jag är buren av en kraft som är större än jag. Jag får ta till mig de tröstens ord som jag inte kan ge mig själv ifrån tröstens Gud. Jag får räkna med att kärleken i smått och stort är det som kommer att bestå. Lisa Tegby i gudstjänsten På grund av coronarestriktioner är sång och musik i just den här gudstjänsten hämtade från skiva. Texter Mika 4:1-4 Romarbrevet 15:4-7 Lukasevangeliet 21:25-36 Musik Advent är mörker och kyla Köramellerna (Sv Ps 609) Kristus kommer Davids son Jubilate (Sv Ps 111) Triosonata in c-moll BWV 526: Sats 2, Largo Lena Weman, Anna Lindahl, Hans-Ola Ericsson, Mikko Perkola (J.S. Bach) Veni veni Emmanuel Göteborgs ungdomskör (Trad från Frankrike) Jesus från Nasaret går här fram Musiklinjens kör, Södra Vätterbygdens folkhögskola (Sv Ps 39) Det susar genom livets strid Gustaf Sjökvists kammarkör (Sv Ps 109) Sonate in g-moll, BWV 1030: Sats 2, Adagio Lena Weman, Hans-Ola Ericsson, Mikko Perkola (J.S. Bach) Sonate in h-moll BWV 1030: Sats 2, Largo e dolce (Siciliano) Lena Weman, Hans-Ola Ericsson (J.S. Bach) När vintermörkret kring oss står Maria Magdalena motettkör (Sv Ps 421) Nu väntar hela jorden Sofia vokalensemble (B Setterlind, G Hahn) Gläd dig, du Kristi brud Helsingborgs kammarkör (Sv Ps 104) Kantat nr 140 (Wachet auf ruft uns die Stimme) Ralph Gustafsson (J.S. Bach) Medverkande Lisa Tegby gudstjänstledning och predikan Erik Hansson textläsning och bön Producent Helena Andersson Holmqvist Moskit media liv@sverigesradio.se Tekniker: Johannes Oscarsson Sveriges radio Västerbotten

Die Orgelmeditationen für die Advents- und Weihnachtszeit laden herzlich zum Lauschen und Genießen ein, beispielsweise für eine adventliche Hausandacht, eine besinnliche Auszeit oder eine kleine Meditation. Eingespielt hat sie Orgelreferent und Regionalkantor Christian Müller. Hören Sie hier: Wachet auf, ruft uns die Stimme.

Der letzte Sonntag im Kirchenjahr ist der Totensonntag, oder auch Ewigkeitssonntag genannt. Was bedeutet dieser Widerspruch? Ewigkeit gegen begrenzte Lebenszeit? Viele sagen, mit dem Tod ist alles aus! Unser Glauben sagt: Nein! Im Psalm 90 "Zuflucht in unserer Vergänglichkeit" finden wir wichtige Hinweise und Kritik an unserem Dasein. Krisenzeiten sind gut für die Erinnerung: "Was ich aber euch sage, das sage ich allen: Wachet!" Die Bibelstelle für die heutige Predigt findet sich bei Markus 13, 31 - 37. Wir hören eine spannende Predigt über die Ewigkeit, warum man die Endzeitberechnung nicht mit Zahlen ausführen kann und was sich hinter der Aufforderung "Wachet!" verbirgt.

"Macht hoch die Tür", "Sieh, es wird der Herr sich nahn" oder "Maria durch ein Dornwald ging": das sind nur ein paar der vielen bekannten Kirchenlieder, die die Schola des Referats Kirchenmusik unter Leitung von Robert Pernpeintner und Christian Müller an der Orgel eingesungen/ eingespielt haben. Hören Sie hier, als kleiner Vorgeschmack, "Wachet auf" (Orgel).

Holy Eucharist Rite II for the Tenth Sunday After PentecostThe Episcopal Church of Leeds ParishMarkham, VirginiaThe Rev. Kate Bryant, CelebrantPermission to podcast or stream copyrighted music with copyrightedsung or projected texts in this service obtained from ONE LICENSE withlicense #A-711861. All rights reserved. Copyrights include:H-393, “Praise our great and gracious Lord”, Music: Maoz Zur,Hebrew melody; adapt. Eric Werner, from Union Songster, ©1960Conference of American Rabbis. H-61, “Sleepers, wake!”, Words: Philipp Nicolai; tr. Carl P. Daw, Jr., © 1982, Carl P. Daw, Jr. Organ settings of Wachet auf by Paul Manz, Setting 2: © 1970 Concordia Publishing House, Setting 3: © 1980, 1987, and 2011 Birnamwood Publications.

In this episode Liam & Alex had the pleasure of talking to a brilliant psychologist Marion Wachet. They have a great conversation talking about the current state of peoples mental health during lockdown, views on mental health post lockdown, what companies need to be aware of when it comes to mental health with remote workers plus much more!

Wir erleben gerade eine Zeit, die verunsichert. Weil niemand weiß, wie lang dieser Corona-Zustand noch andauert, was er mit uns persönlich, sozial und wirtschaftlich längerfristig macht. Pfarrer Gräper stellt Fragen, erinnert sich an den 11. September und bringt die Geschichte von Jesus in Gethsemane (Markus 14,32-42) ins Spiel. Wachen und beten sollen die Jünger in der Erzählung. Für heute übersetzt kann man sagen: Achte auf dich und die anderen, lebe solidarisch und lass dir Solidarität zu Teil werden.

Jakie są najbardziej znane utwory organowe? Dlaczego stały się popularne?Odpowiadam na pytania a Maciej Bator wykonuje fragmenty utworów organowych w Kościele Pokoju w Świdnicy.

This question was sent by May. She’s our Total Organist student. And he writes: Hi Vidas, I read from your post that you classify BWV 565 as advanced level. Actually, which part of this piece do you think is the most challenging? I personally find the fast passage towards the end (especially that part to be played by hands only with alternate hands. I find it very difficult to play each note evenly and clearly. Is this the most difficult part of this piece in your mind? What do you suggest I can do to improve my playing of such fast passages? Vidas: Do you like playing Hanon exercises, Bach Inventions and Sinfonias? May: Thanks Vidas! I wish I played more technical exercises before. The fact is, my piano teachers never instructed me to do so in the past (when I was a teenager). My piano at home is now awfully out of tune. I seldom play it ever since I started learning organ. To be honest I would rather spend time on compositions that require pedals. I always choose compositions that require more hands-feet coordination and less manual techniques. This doesn't mean I do not want to improve my manual skills. I just don't want to spend too much time on manual only pieces like Bach's inventions and sinfonias. I have little knowledge of Hanon exercises. How many of exercises does it have and how many shall I work on? I assume I'll have to practice them on the piano... Thanks again, May Vidas: How about Bach's Orgelbuchlein? How many chorales have you mastered from this collection? May: Hi Vidas, With the Orgelbuchlein, here's the list of pieces I have played in the Church and that I am fairly comfortable with. BWV 609, 610, 621, 623, 625, 627(verses 1,2,3), 631, 636 Below is the list that I believe I have mastered. BWV 599, 602, 605, 606, 613, 626, 630, 639. I am quite comfortable with BWV 659 and 645. ​ V: By the way, 659 is Nun komm from Eighteen Great Chorales, the first one, and 645 is "Wachet auf" from Schubler collection. May: I have been playing them in Church during the advent season in the past few years. Any advice from you will be greatly appreciated. Thanks, May Vidas: And I finished my writing to her like this: Thanks May! There are 45 chorale preludes in this collection. It's worth mastering them all. Also the Schubler chorales. Do one per week. In fact, you can record one piece every week for our Secrets of Organ Playing Contest. This would quadruple your results.

The First Sunday of Advent ORISON: Matin Responsory – Jason A. Anderson (b. 1976) PSALM 122: Peter R. Hallock (1924-2014) HYMN: “Sleepers,wake!” A voice astounds us (Tune: Wachet auf) – mel. Frewdenspiegel dess ewigen Lebens, 1599; harm. Neu Leipziger Gesanbuch, 1682, and Felix Mendelssohn (1809-1847) NUNC DIMITTIS: Richard Proulx (1937-2010) ANTHEM: Audivi vocem de coelo – Plainsong, Mode I; harm. Thomas Tallis (c. 1505-1585) Jason Anderson, director […]

East Coker - Burnt Norton & Sleepers Awake Saint Julian Press Podcast – Art & Music utilized under “Fair Use” practice for Educational non-profit Purposes. Art by Chagall, Marc, 1887-1985. Passover Angel of Death – From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. White Crucifixion – From the Art Institute of Chicago. Music: Sleepers Awake by composer Johann Sebastian Bach. Wachet auf, ruft uns die Stimme (Sleepers Awake), from The Essential Yo-Yo Ma. Ron Starbuck – Readings from East Coker & Burnt Norton

Let’s start episode 318 of Secrets of Organ Playing Podcast. This question was sent by Sjouke and he writes: “Hi Vidas and Ausra, Today I have finished a morning practice session for about 2 and a half hrs, and than after that I was done for, meaning very tired. I get that way, my back is hurting and between my shoulder blades etc. Although I am not very good at it, playing the organ that is, still I try to get to the church at least once a week, because others also want time behind the organ, which is understandable and I do not begrudge them that, and I am working at trying to get a key for the church so I do get more time behind the organ. I do have a organ at home and I enjoy playing of it but of course the sound is different, so that is why I go to church to practice. But it seems that I am a slow learner, being 72 years of age does not help, but that is frustrating me. I usually pick pieces that I know that I can learn, a couple of months ago I heard a friend of mine play, "Wachet auf, ruft uns die Stimme" by J.S. Bach and I asked this friend of mine if he thought I could learn this piece, his reply was to try, but to take it slow. I have done that, now this piece has four pages, but it is going very slowly, and I do not mind telling you that I get impatient and frustrating for a piece of music of this kind, I can work on it for a year before I can say I do know it now and I can play it at home with not problem, but in public is another story. I played for a congregation for fifteen years, and it took me another eight years before I felt comfortable enough that I did not get overly out of control nervousness. One and half years ago that church closed its doors, to bad for I really enjoyed my time there. My question to both of you is how do I get over this out of control nervousness. I done a performance last March I believe and it was not very good, I did know the piece I was playing, which was an improvisation by Dianne Bish " Great God We praise Your Name" I do not know if you know it, but it did take a while for me to learn it. Anyway the nervousness really I need help with, please do not suggest a psychologist, for I did see one for three years and not help. Thank you for answering this question. Sjouke”

"Wachet auf" – ein Weckruf ist notwendig, so  Pfarrer Wolfgang Beck – nicht nur für die 25000 Delegierten bei der Weltklimakonferenz in Bonn.

Wachet und Betet - Manfred Freivogel

Predigt von: Christophe Domes was ist das Geheimnis von Gebet und diesbezüglich unser Mandat für uns?… Mt 26,38-44 | Lk 21,34-36

On November 23rd, the Diablo Valley College Chamber Singers and Philharmonic Orchestra performed J.S. Bach’s Cantata 140: “Wachet auf” at First Lutheran Church. Here is Pastor Jedidiah Maschke’s introduction to the cantata.

On November 23rd, the Diablo Valley College Chamber Singers and Philharmonic Orchestra performed J.S. Bach’s Cantata 140: “Wachet auf” at First Lutheran Church, directed by Owen Lee.

Enregistrement public du concert du Bach Collegium Paris du samedi 12 octobre 2013 à 20h30 en l’Église Réformée de l'Étoile (Paris 17e). Patrizia METZLER (directeur musical). Manon BAUTIAN (soprano). Antoine LE ROUX (alto). Tarik BOUSSELMA (ténor). Sébastien BROHIER (basse). Jean-Sébastien BACH (1685-1750) Johann Sebastian BACH (1685-1750) Cantate BWV 78 “Jesu, der du meine Seele” À l'occasion de ce concert, Le Bach Collegium Paris vous propose trois cantates de Jean-Sébastien Bach (1685-1750), composées dans les huit premières années de son séjour à Leipzig, entre 1723 et 1731 : au programme de ce concert figureront la cantate BWV 23, Du wahrer Gott und Davids Sohn, que Bach a très probablement proposée lors de son audition pour obtenir son poste à Leipzig, la cantate BWV 78, Jesu, der du meine Seele, ainsi que la célèbre cantate BWV 140 Wachet auf, ruft uns die Stimme, plus connue sous le nom de Cantate du Veilleur. «Bach est le commencement et la fin de toute musique» : c’est par ces mots que Max Reger (1873-1916) rend hommage à l’œuvre du Kantor de Leipzig. Aussi le Bach Collegium Paris vous proposera-t-il également, en pendant à ces trois cantates, d’écouter trois motets de ce grand admirateur de Bach. Composés près de deux cents ans après les cantates de ce concert, à la veille de sa mort, ces motets sont tirés des 8 Geistliche Gesänge, œuvre de chevet de Max Reger que l’on pourrait considérer comme son testament musical. BACH COLLEGIUM PARIS bachcollegiumparis.org facebook.com/bachcollegiumparis twitter.com/bachcollegiump © Tous droits réservés Bach Collegium Paris - Paris, France

Enregistrement public du concert du Bach Collegium Paris du samedi 12 octobre 2013 à 20h30 en l’Église Réformée de l'Étoile (Paris 17e). Patrizia METZLER (directeur musical). Manon BAUTIAN (soprano). Antoine LE ROUX (alto). Tarik BOUSSELMA (ténor). Sébastien BROHIER (basse). Jean-Sébastien BACH (1685-1750) Johann Sebastian BACH (1685-1750) Cantate BWV 140 “Wachet auf, ruft uns die Stimme” À l'occasion de ce concert, Le Bach Collegium Paris vous propose trois cantates de Jean-Sébastien Bach (1685-1750), composées dans les huit premières années de son séjour à Leipzig, entre 1723 et 1731 : au programme de ce concert figureront la cantate BWV 23, Du wahrer Gott und Davids Sohn, que Bach a très probablement proposée lors de son audition pour obtenir son poste à Leipzig, la cantate BWV 78, Jesu, der du meine Seele, ainsi que la célèbre cantate BWV 140 Wachet auf, ruft uns die Stimme, plus connue sous le nom de Cantate du Veilleur. «Bach est le commencement et la fin de toute musique» : c’est par ces mots que Max Reger (1873-1916) rend hommage à l’œuvre du Kantor de Leipzig. Aussi le Bach Collegium Paris vous proposera-t-il également, en pendant à ces trois cantates, d’écouter trois motets de ce grand admirateur de Bach. Composés près de deux cents ans après les cantates de ce concert, à la veille de sa mort, ces motets sont tirés des 8 Geistliche Gesänge, œuvre de chevet de Max Reger que l’on pourrait considérer comme son testament musical. BACH COLLEGIUM PARIS bachcollegiumparis.org facebook.com/bachcollegiumparis twitter.com/bachcollegiump © Tous droits réservés Bach Collegium Paris - Paris, France

Enregistrement public du concert du Bach Collegium Paris du samedi 12 octobre 2013 à 20h30 en l’Église Réformée de l'Étoile (Paris 17e). Patrizia METZLER (directeur musical). Manon BAUTIAN (soprano). Antoine LE ROUX (alto). Tarik BOUSSELMA (ténor). Sébastien BROHIER (basse). Jean-Sébastien BACH (1685-1750) Johann Sebastian BACH (1685-1750) Cantate BWV 78 “Jesu, der du meine Seele” À l'occasion de ce concert, Le Bach Collegium Paris vous propose trois cantates de Jean-Sébastien Bach (1685-1750), composées dans les huit premières années de son séjour à Leipzig, entre 1723 et 1731 : au programme de ce concert figureront la cantate BWV 23, Du wahrer Gott und Davids Sohn, que Bach a très probablement proposée lors de son audition pour obtenir son poste à Leipzig, la cantate BWV 78, Jesu, der du meine Seele, ainsi que la célèbre cantate BWV 140 Wachet auf, ruft uns die Stimme, plus connue sous le nom de Cantate du Veilleur. «Bach est le commencement et la fin de toute musique» : c’est par ces mots que Max Reger (1873-1916) rend hommage à l’œuvre du Kantor de Leipzig. Aussi le Bach Collegium Paris vous proposera-t-il également, en pendant à ces trois cantates, d’écouter trois motets de ce grand admirateur de Bach. Composés près de deux cents ans après les cantates de ce concert, à la veille de sa mort, ces motets sont tirés des 8 Geistliche Gesänge, œuvre de chevet de Max Reger que l’on pourrait considérer comme son testament musical. BACH COLLEGIUM PARIS bachcollegiumparis.org facebook.com/bachcollegiumparis twitter.com/bachcollegiump © Tous droits réservés Bach Collegium Paris - Paris, France

Enregistrement public du concert du Bach Collegium Paris du samedi 12 octobre 2013 à 20h30 en l’Église Réformée de l'Étoile (Paris 17e). Patrizia METZLER (directeur musical). Manon BAUTIAN (soprano). Antoine LE ROUX (alto). Tarik BOUSSELMA (ténor). Sébastien BROHIER (basse). Jean-Sébastien BACH (1685-1750) Johann Sebastian BACH (1685-1750) Cantate BWV 140 “Wachet auf, ruft uns die Stimme” À l'occasion de ce concert, Le Bach Collegium Paris vous propose trois cantates de Jean-Sébastien Bach (1685-1750), composées dans les huit premières années de son séjour à Leipzig, entre 1723 et 1731 : au programme de ce concert figureront la cantate BWV 23, Du wahrer Gott und Davids Sohn, que Bach a très probablement proposée lors de son audition pour obtenir son poste à Leipzig, la cantate BWV 78, Jesu, der du meine Seele, ainsi que la célèbre cantate BWV 140 Wachet auf, ruft uns die Stimme, plus connue sous le nom de Cantate du Veilleur. «Bach est le commencement et la fin de toute musique» : c’est par ces mots que Max Reger (1873-1916) rend hommage à l’œuvre du Kantor de Leipzig. Aussi le Bach Collegium Paris vous proposera-t-il également, en pendant à ces trois cantates, d’écouter trois motets de ce grand admirateur de Bach. Composés près de deux cents ans après les cantates de ce concert, à la veille de sa mort, ces motets sont tirés des 8 Geistliche Gesänge, œuvre de chevet de Max Reger que l’on pourrait considérer comme son testament musical. BACH COLLEGIUM PARIS bachcollegiumparis.org facebook.com/bachcollegiumparis twitter.com/bachcollegiump © Tous droits réservés Bach Collegium Paris - Paris, France

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

Lesung anhören (zum Player) nach der revidierten Übersetzung von Martin Luther Lukas 22 7 Es kam nun der Tag, an welchem man mußte opfern das Osterlamm. Markus 14 22 Und indem sie aßen, nahm Jesus das Brot, dankte und sprach: Esset; das ist mein Leib. 23 Und nahm den Kelch, dankte und gab ihnen den; und sie tranken alle daraus. 24 Und er sprach zu ihnen: Das ist mein Blut, das für viele vergossen wird. Lukas 22 24 Es erhob sich auch ein Zank unter ihnen, welcher unter ihnen sollte für den Größten gehalten werden. 25 Er aber sprach zu ihnen: Die weltlichen Könige herrschen, und die Gewaltigen heißt man gnädige Herren. 26 Der Größte unter euch soll sein wie der Jüngste, und der Vornehmste wie ein Diener. Markus 14 18 Und als sie aßen, sprach Jesus: Wahrlich, ich sage euch: Einer unter euch, der mit mir isset, wird mich verraten. 19 Und sie wurden traurig und sagten ihm, einer nach dem anderen: Bin ich's? und der andere: Bin ich's? 29 Petrus aber sagte zu ihm: 31 Ja, wenn ich mit dir auch sterben müßte, wollte ich dich doch nicht verleugnen. Desgleichen sagten sie alle. Markus 14 26Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. 38 Wachet und betet, daß ihr nicht in Versuchung fallet! Der Geist ist willig; aber das Fleisch ist schwach. 43 Und alsbald, da er noch redete, kam herzu Judas, der Zwölf einer, und eine große Schar mit ihm, mit Schwertern und mit Stangen von den Hohenpriestern und Schriftgelehrten und Ältesten. 44 Und der Verräter hatte ihnen ein Zeichen gegeben und gesagt: Welchen ich küssen werde, der ist's; 45 Und da er kam, trat er alsbald zu ihm und sprach zu ihm: Rabbi, Rabbi! und küßte ihn. Lukas 22 48 Jesus aber sprach zu ihm: Judas, verrätst du des Menschen Sohn mit einem Kuß? Markus 14 46 Die aber legten ihre Hände an ihn und griffen ihn. 48 Und Jesus sprach zu ihnen: Ihr seid ausgegangen wie zu einem Mörder mit Schwertern und Stangen, mich zu fangen. 50 Und die Jünger verließen ihn alle und flohen. 54 Petrus aber folgte ihm nach von ferne bis hinein in des Hohenpriesters Palast. Giotto di Bondone – „Jesus vor dem Hohen Rat“ 61 Da fragte ihn der Hohepriester : Bist du Christus, Sohn des Hochgelobten? 62 Jesus aber sprach: Ich bin's 63 Da zerriß der Hohepriester seinen Rock und sprach: 64 Ihr habt gehört die Gotteslästerung. Was dünkt euch? Sie aber verdammten ihn alle, daß er des Todes schuldig wäre. 66 Und Petrus war unten im Hof. 67 Und du warst auch mit Jesus von Nazareth. 68 Er leugnete aber und sprach: Ich kenne ihn nicht, 69 Dieser ist deren einer. 70 Und er leugnete abermals. Und nach einer kleinen Weile Lukas 22 59 bekräftigte es ein anderer und sprach: Wahrlich dieser war auch mit ihm. 60 Petrus aber sprach: Mensch, ich weiß nicht, was du sagst. Und alsbald, als er noch redete, krähte der Hahn. 61 Und der HERR wandte sich um und sah Petrus an. Und Petrus gedachte an des HERRN Wort, wie er zu ihm gesagt hatte: Ehe denn der Hahn kräht, wirst du mich dreimal verleugnen. 62 Und Petrus ging hinaus und weinte bitterlich. 63 Die Männer aber, die Jesum hielten, verspotteten ihn, 64 verdeckten ihn und schlugen ihn ins Angesicht und fragten ihn und sprachen: Weissage, wer ist's, der dich schlug? Matthäus27 3 Da das sah Judas, der ihn verraten hatte, daß er verdammt war zum Tode, gereute es ihn, und brachte die dreißig Silberlinge den Hohenpriestern und den Ältesten 4 und sprach: Ich habe übel getan, daß ich unschuldig Blut verraten habe. 5 Sie sprachen: Was geht uns das an? Da siehe du zu! Und er warf die Silberlinge in den Tempel, hob sich davon, ging hin und erhängte sich selbst. Markus 15 1 Und bald am Morgen hielten die Hohenpriester einen Rat mit den Ältesten und Schriftgelehrten, dazu der ganze Rat, und banden Jesum und führten ihn hin und überantworteten ihn dem Pilatus. Christus vor Pilatus, Gemälde von Mihály von Munkácsy, 1881 Lukas 22 3 Pilatus aber fragte ihn und sprach: Bist du der Juden König? Er antwortete und sprach: Du sagst es. Markus 15 3 Und die Hohenpriester beschuldigten ihn hart. 4 Pilatus aber fragte ihn abermals und sprach: Antwortest du nichts? Siehe, wie hart sie dich verklagen! 5 Jesus aber antwortete nichts mehr, daß sich auch Pilatus verwunderte. Johannes 19 10 Da sprach Pilatus zu ihm: Redest du nicht mit mir? Weißt du nicht, daß ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben? 11 Jesus antwortete: Du hättest keine Macht über mich, wenn sie dir nicht wäre von obenherab gegeben; darum, der mich dir überantwortet hat, der hat größere Sünde. Matthäus27 24 Da aber Pilatus sah, daß er nichts schaffte, sondern daß ein viel größer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk und sprach: Ich bin unschuldig an dem Blut dieses Gerechten! Markus 15 9 Wollt ihr, daß ich euch den König der Juden losgebe? 11 Aber die Hohenpriester reizten das Volk, das er ihnen viel lieber den Barabbas losgäbe. 7 Eeiner, gefangen mit den Aufrührern, die im Aufruhr einen Mord begangen hatten. 15 Pilatus aber gedachte, dem Volk genugzutun, und gab ihnen Barabbas los, und geißelte Jesum und überantwortete ihn, daß er gekreuzigt würde. Johannes 19 19 Pilatus aber schrieb eine Überschrift und setzte sie auf das Kreuz; und war geschrieben: Jesus von Nazareth, der Juden König. 21 Da sprachen die Hohenpriester der Juden zu Pilatus: Schreibe nicht: »Der Juden König«, sondern daß er gesagt habe: Ich bin der Juden König. 22 Pilatus antwortete: Was ich geschrieben habe, das habe ich geschrieben. Lukas 23 27 Es folgte ihm aber nach ein großer Haufe Volks und Weiber, die beklagten und beweinten ihn. 28 Jesus aber wandte sich um zu ihnen und sprach: Ihr Töchter von Jerusalem, weinet nicht über mich, sondern weinet über euch selbst und über eure Kinder. 29 Es wird die Zeit kommen, in welcher man sagen wird: Selig sind die Unfruchtbaren und die Leiber, die nicht geboren haben! Markus 15 16 Die Kriegsknechte 17 flochten eine dornene Krone und setzten sie ihm auf, 18 und fingen an, ihn zu grüßen: Gegrüßet seist du, der Juden König! 19 Und schlugen ihm das Haupt mit dem Rohr und verspeiten ihn. Lukas 23 34 Jesus aber sprach: Vater, vergib ihnen sie wissen nicht, was sie tun! Und sie teilten seine Kleider und warfen das Los darum. 35 Und das Volk stand und sah zu. 27 Und sie kreuzigten mit ihm zwei Mörder, einen zu seiner Rechten und einen zur Linken. 39 Einer, lästerte ihn und sprach: Bist du Christus, so hilf dir selber und uns! 40 Da antwortete der andere, strafte ihn und sprach: 41 wir empfangen, was unsere Taten wert sind; dieser aber hat nichts Ungeschicktes getan. 42 Und er sprach zu Jesu: HERR, gedenke an mich, wenn du in dein Reich kommst! 43 Und Jesus sprach zu ihm: ich sage dir: Heute wirst du mit mir im Paradiese sein. Johannes 19 25 Es stand aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, des Kleophas Weib, und Maria Magdalena. 26 Da nun Jesus seine Mutter sah und den Jünger dabeistehen, den er liebhatte, spricht er zu seiner Mutter: Weib, siehe, das ist dein Sohn! 27 Darnach spricht er zu dem Jünger: Siehe, das ist deine Mutter! Und von der Stunde an nahm sie der Jünger zu sich. Markus 15 31 Die Hohenpriester verspotteten ihn untereinander samt den Schriftgelehrten und sprachen: Er hat anderen geholfen, und kann sich selber nicht helfen. 33 Und nach der sechsten Stunde ward eine Finsternis über das ganze Land bis um die neunte Stunde. Matthäus27 46 Und um die neunte Stunde schrie Jesus laut und sprach: Eli, Eli, lama asabthani? das heißt: Mein Gott, mein Gott, warum hast du mich verlassen? Johannes 19 28 Darnach, da Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllt würde, spricht er: Mich dürstet! 29 Sie aber füllten einen Schwamm mit Essig und hielten es ihm dar zum Munde. 30 Da nun Jesus den Essig genommen hatte, sprach er: Es ist vollbracht! Lukas 23 46Vater, ich befehle meinen Geist in deine Hände! Markus 15 38 Und der Vorhang im Tempel zerriß in zwei Stücke von obenan bis untenaus. 39 Der Hauptmann aber, der dabeistand ihm gegenüber und sah, daß er mit solchem Geschrei verschied, sprach: Wahrlich, dieser Mensch ist Gottes Sohn gewesen! Lukas 23 50 Ein Mann mit Namen Joseph, 52 Der ging zu Pilatus und bat um den Leib Jesu; Markus 15 46 er nahm ihn ab und wickelte ihn in die Leinwand und legte ihn in ein Grab, das war in einen Felsen gehauen, und wälzte einen Stein vor des Grabes Tür. 47 Aber Maria Magdalena und Maria, des Joses Mutter, schauten zu, wo er hingelegt ward. Lukas 24 1 Aber am ersten Tage der Woche sehr früh kamen sie zum Grabe. 2 Sie fanden aber den Stein abgewälzt von dem Grabe 3 und gingen hinein und fanden den Leib des HERRN Jesu nicht. Markus 15 9 Jesus aber, da er auferstanden war, erschien am ersten der Maria Magdalena. Markus 16 10 Und sie ging hin und verkündigte es denen, die mit ihm gewesen waren, die da Leid trugen und weinten. Lesung & Sound: Elisa Demonkí

UCLU Chamber Choir Winter Concert - 12 December, 2012 Cantata no. 140 ‘Wachet auf, ruft uns die Stimme’ (1731) • Chorus ‘Wachet auf, ruft uns die Stimme’ • Recit ‘Er kommt, er kommt’ • Chorale ‘Zion hort dieWachter singen’ • Recit ‘So geh herein zu mir’ • Chorale ‘Gloria sei dir gesungen’ UCLU's Chamber Choir, a group of 26 experienced singers from around the university, present an evening of stunning choral music in St Olave's Church, joined and accompanied by a number of talented musicians from UCLU Symphony Orchestra. Soloists: Jade Wong, Frederick Soames, Edward Cottell Conductor: Charles Peebles Organist: Luke Moynihan Rehearsal Pianist: Ashley Harvey http://www.uclumusicsociety.org UCL is consistently ranked as one of the world's top universities. Across all disciplines our faculties are known for their research-intensive approaches, academic excellence and engagement with global challenges. This is the basis of our world-renowned degree programmes. Visit us at ucl.ac.uk.

The Rev. Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "Advent Joy". The Marsh Chapel Choir sings "Wachet auf, ruft uns die Stimme, BWV 140" by J. S. Bach along with service music and hymns.

The Rev. Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "Advent Joy". The Marsh Chapel Choir sings "Wachet auf, ruft uns die Stimme, BWV 140" by J. S. Bach along with service music and hymns.

David chants a Taizé Song "Bleibt hier und wachet mit mir" during a satsang at Yoga http://www.yoga-vidya.de Vidya Ashram Bad Meinberg. You can find this mantra in the Yoga Vidya Kirtan Songbook http://mein.yoga-vidya.de/profile/YogaVidyaKirtanheft as No. 532. More mantras like this one can you find at http://www.yoga-vidya.de/de/service/blog/category/podcast/mantra/ Om Shanti - yours Omkara

David chants a Taizé Song "Bleibt hier und wachet mit mir" during a satsang at Yoga http://www.yoga-vidya.de Vidya Ashram Bad Meinberg. You can find this mantra in the Yoga Vidya Kirtan Songbook http://mein.yoga-vidya.de/profile/YogaVidyaKirtanheft as No. 532. More mantras like this one can you find at http://www.yoga-vidya.de/de/service/blog/category/podcast/mantra/ Om Shanti - yours Omkara Folge direkt herunterladen

The Reverend Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "Bach and Beauty." The Marsh Chapel Choir sings "Wachet! Betet! Betet! Wachet!" BWV 70 by J. S. Bach and "I saw the Lord " by John Stainer along with service music and hymns.

The Reverend Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "Bach and Beauty." The Marsh Chapel Choir sings "Wachet! Betet! Betet! Wachet!" BWV 70 by J. S. Bach and "I saw the Lord " by John Stainer along with service music and hymns.

The Reverend Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "Bach and Beauty." The Marsh Chapel Choir sings "Wachet! Betet! Betet! Wachet!" BWV 70 by J. S. Bach and "I saw the Lord " by John Stainer along with service music and hymns.

The Reverend Dr. Robert Allan Hill and Dr. Scott Allen Jarrett preach a sermon entitled "Bach and Beauty." The Marsh Chapel Choir sings "Wachet! Betet! Betet! Wachet!" BWV 70 by J. S. Bach and "I saw the Lord " by John Stainer along with service music and hymns.

von Thorsten Moll http://www.vatershaus.de/ Lk 22,60-62; Jak 4,9; 2Kor 7,10; 2Tim 2,24-26; Joh 21,15-17; Lk 22,21-24; Jak 3,15; Lk 22,31-32; Röm 12,1-2; Eph 5,10-14; 2Thess 3,14; Mt 16,13-23; Lk 22,40.45-46; 1Petr 5,8; Eph 6,18