Posts in Bach

Johann Sebastian Bach Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he is generally regarded as one of the greatest composers of all time. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at age 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar, where he expanded his organ repertory, and Köthen, where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer, a situation that was little remedied when he was granted the title of court composer by his sovereign, Augustus, Elector of Saxony and King of Poland, in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750 at the age of 65. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue. Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals (and later also websites) exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including, for instance, the Air on the G String, and of recordings, such as three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death. Suite No. 1 BWW 1007 1. Prelude 1:46 2. Allemande 6:47 3. Courande 3:16 4. Sarabande 3:13 5. Menuet I and II 4:29 6. Guide 1:23 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Johann Sebastian Bach The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). The work belongs to a group of three oratorios written in 1734 and 1735 for major feasts, the other two works being the Ascension Oratorio (BWV 11) and the Easter Oratorio (BWV 249). All three of these oratorios to some degree parody earlier compositions. The Christmas Oratorio is by far the longest and most complex work of the three. The Christmas Oratorio is in six parts, each part being intended for performance on one of the major feast days of the Christmas period. The piece is often presented as a whole or split into two equal parts. The total running time for the entire work is nearly three hours. The first part (for Christmas Day) describes the Birth of Jesus, the second (for December 26) the annunciation to the shepherds, the third (for December 27) the adoration of the shepherds, the fourth (for New Year's Day) the circumcision and naming of Jesus, the fifth (for the first Sunday after New Year) the journey of the Magi, and the sixth (for Epiphany) the adoration of the Magi. Weihnachts Oratorium BWV 248 Part I 'For the First Day of Christmas' Part II 'For the Second Day of Christmas' Part III 'For the Third Day of Christmas' Part IV 'For the Feast of the Circumcision' Part V 'For the First Sunday in the New Year' Part VI 'For the Feats of Epiphany' For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Johann Sebastian Bach Johannes Passion BWV 245 Primeira parte 1. 10:14 Coro: Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist! 2. 3:02 2a. Evangelista, Jesus: Jesus ging mit seinen Jüngern über den Bach Kidron 2b. Coro: Jesum von Nazareth 2c. Evangelista, Jesus: Jesus spricht zu ihnen 2d. Coro: Jesum von Nazareth 2e. Evangelista, Jesus: Jesus antwortete: Ich hab's euch gesagt, daß ich's sei 3. 1:09 Coral: O große Lieb, o Lieb ohn alle Maße 4a.1:28 Evangelista, Jesus: Auf daß das Wort erfüllet würde 5. 1:00 Coral: Dein Will gescheh, Herr Gott, zugleich 6. 0:42 Evangelista: Die Schar aber und der Oberhauptmann 7. 6:04 Aria (alto, oboes): Von den Stricken meiner Sünden 8. 0:12 Evangelista: Simon Petrus aber folgete Jesu nach 9. 3:31 Aria (soprano, flautas): Ich folge dir gleichfalls mit freudigen Schritten 10. 3:38 Evangelista, Empregada, Pedro, Jesus e um Servo: Derselbige Jünger war dem Hohenpriester bekannt 11. 2:17 Coral: Wer hat dich so geschlagen 12. 2:18 12a. Evangelista: Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas 12b. Coro: Bist du nicht seiner Jünger einer? 12c. Evangelista, Pedro, Servo: Er leugnete aber 13. 3:13 Aria (tenor): Ach, mein Sinn 14. 1:48Coral: Petrus, der nicht denkt zurück Segunda parte 15. 1:02 Coral: Christus, der uns selig macht 16. 4:52 16a. Evangelist, Pilate: Da führeten sie Jesum von Kaiphas vor das Richthaus 16b. Coro: Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet. 16c. Evangelist, Pilate: Da sprach Pilatus zu ihnen 16d. Coro: Wir dürfen niemand töten. 16e. Evangelist, Pilate, Jesus: Auf daß erfüllet würde das Wort Jesu 17. 2:44 Coral: Ach großer König, groß zu allen Zeiten 18. 2:20 18a. Evangelista, Pilatus, Jesus: Da sprach Pilatus zu ihm 18b. Coro: Nicht diesen, sondern Barrabam! 18c. Evangelista, Pilatus, Jesus: Barrabas aber war ein Mörder. 19. 2:28 Arioso (baixo, viola d'amore, lute): Betrachte, meine Seel, mit ängstlichem Vergnügen 20. 8:17 Aria (tenor, viole d'amore): Erwäge, wie sein blutgefärbter Rücken 21. 6:20 21a. Evangelista: Und die Kriegsknechte flochten eine Krone von Dornen 21b. Coro: Sei gegrüßet, lieber Jüdenkönig! 21c. Evangelista, Pilate: Und gaben ihm Backenstreiche. 21d. Coro: Kreuzige, kreuzige! 21e. Evangelista, Pilatus: Pilatus sprach zu ihnen 21f. Coro: Wir haben ein Gesetz, und nach dem Gesetz soll er sterben 21g. Evangelista, Pilatus, Jesus: Da Pilatus das Wort hörete, fürchtet' er sich noch mehr 22. 0:51 Coral: Durch dein Gefängnis, Gottes Sohn muß uns die Freiheit kommen 23. 4:40 23a. Evangelista: Die Jüden aber schrieen 23b. Coro: Lässest du diesen los, so bist du des Kaisers Freund nicht 23c. Evangelista, Pilate: Da Pilatus da Wort hörete, führete er Jesum heraus 23d. Coro: Weg, weg mit dem, kreuzige ihn! 23e. Evangelista, Pilatus: Spricht Pilatus zu ihnen 23f. Coro: Wir haben keinen König denn den Kaiser. 23g. Evangelista: Da überantwortete er ihn daß er gekreuziget würde. 24. 4:15 Aria (baixo) e coro: Eilt, ihr angefochtnen Seelen 25. 2:06 25a. Evangelista: Allda kreuzigten sie ihn 25b. Coro: Schreibe nicht: der Jüden König 25c. Evangelista, Pilate: Pilatus antwortet 26. 1:23 Coral: In meines Herzens Grunde 27. 4:22 27a. Evangelista: Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider 27b. Coro: Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll. 27c. Evangelista, Jesus: Auf daß erfüllet würde die Schrift 28. 1:29 Coral: Er nahm alles wohl in acht 29. 1:44 Evangelista, Jesus: Und von Stund an nahm sie der Jünger zu sich. 30. 7:14 Aria (contralto, viola da gamba): Es ist vollbracht! 31. 0:29 Evangelista: Und neiget das Haupt und verschied. 32. 4:39 Aria (baixo e coro]]: Mein teurer Heiland, laß dich fragen 33. 0:39 Evangelista: Und siehe da, der Vorhang im Tempel zeriß in zwei Stück 34. 0:51 Arioso (tenor, flutes, oboes): Mein Herz, in dem die ganze Welt bei Jesu Leiden gleichfalls leidet 35. 6:32 Aria (soprano, flute, oboe da caccia): Zerfließe, mein Herze, in Fluten der Zähren 36. 2:07 Evangelista: Die Jüden aber, dieweil es der Rüsttag war 37. 1:22 Coral: O hilf, Christe, Gottes Sohn 38. 2:18 Evangelista: Darnach bat Pilatum Joseph von Arimathia 39. 8:49 Coro: Ruht wohl, ihr heiligen Gebeine 40. 2:54 Coral: Ach Herr, lass dein lieb Engelein For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Johann Sebastian Bach Ein feste Burg ist unser Gott ("A Mighty Fortress Is Our God"), BWV 80 (also: BWV 80.3), is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, Alles, was von Gott geboren, BWV 80a (also: BWV 80.1). The first Leipzig version of the church cantata, BWV 80b (also: BWV 80.2), may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn. Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani. Ein feste Burg ist unser Gott was published in 1821, the first of Bach's cantatas published after his death. The Bach Gesellschaft edition appeared half a century later, and included an extended instrumentation by Wilhelm Friedemann. Kantate BWV 80 1. Ein feste Burg ist unser Gott 5:32 2. Alles, was von Gott geboren 4:10 3. Erwage doch, Kind Gottes 2:18 4. Komm in mein Herzenshaus 3:47 5. Und wenn die Welt volt Teufel war 3:59 6. So stehe denn bei Christi Blutgefarbter Fahne 1:39 7. Wie selig sind doch die 4:15 8. Das Wort sie sollen lassen stahn 1:27 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Johann Sebastian Bach Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he is generally regarded as one of the greatest composers of all time. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at age 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar, where he expanded his organ repertory, and Köthen, where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer, a situation that was little remedied when he was granted the title of court composer by his sovereign, Augustus, Elector of Saxony and King of Poland, in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750 at the age of 65. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue. Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals (and later also websites) exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including, for instance, the Air on the G String, and of recordings, such as three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death. Oboe Concerto 1. Allegro 4:36 2. Larghetto 4:58 3. Allegro ma non tanto 4:44 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Johann Sebastian Bach - Vater unser in Himnelreich "Vater unser im Himmelreich" (Our Father in Heaven) is a Lutheran hymn in German by Martin Luther. He wrote the paraphrase of the Lord's Prayer in 1538, corresponding to his explanation of the prayer in his Kleiner Katechismus (Small Catechism). He dedicated one stanza to each of the seven petitions and framed it with an opening and a closing stanza, each stanza in six lines. Luther revised the text several times, as extant manuscript show, concerned to clarify and improve it. He chose and possibly adapted an older anonymous melody, which was possibly associated with secular text, after he had first selected a different one. Other hymn versions of the Lord's Prayer from the 16th and 20th-century have adopted the same tune, known as "Vater unser" and "Old 112th". The hymn was published in Leipzig in 1539 in Valentin Schumann's hymnal Gesangbuch, with a title explaining "The Lord's Prayer briefly expounded and turned into metre". It was likely first published as a broadsheet. The hymn was translated into English in several versions, for example "Our Father, Thou in Heaven Above" by Catherine Winkworth in 1863 and "Our Father, Lord of Heaven and Earth" by Henry J. de Jong in 1982. In the current German hymnal Evangelisches Gesangbuch (EG) it is number 344. For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'),[1] BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. Bach composed this cantata to complete his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas "Wachet auf, ruft uns die Stimme" (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the parable of the Ten Virgins. The text and tune of the three stanzas of the hymn appears unchanged in three of seven movements (1, 4 and 7). An unknown author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a chorale prelude, and the third stanza as a four-part chorale. He set the new texts as dramatic recitatives and love-duets, similar to contemporary opera. Bach scored the work for three vocal soloists (soprano, tenor´and bass), a four-part choir and a Baroque instrumental ensemble consisting of a horn (to reinforce the soprano), two oboes, taille, violino piccolo, strings and basso continuo including bassoon. Bach used the central movement of the cantata as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the cantata is an expression of Christian mysticism in art, while William G. Whittaker calls it "a cantata without weakness, without a dull bar, technically, emotionally and spiritually of the highest order". Johann Sebastian Bach Wachet Auf For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of the Western musical canon. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After becoming an orphan at age 10, he lived for five years with his eldest brother Johann Christoph Bach, after which he continued his musical development in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by his sovereign, Augustus, Elector of Saxony and King of Poland, in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750 at the age of 65. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular.[4] He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue. Throughout the 18th century Bach was mostly renowned as an organist,[5] while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities.[6] The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's works marking the 250th anniversary of his death. Johann Sebastian Bach Tracklist: 1. Tocata e Fuga em Ré Menor, BWV 565 2. Cantata nº 51, "Jauchzet Gott In Allen Landen", BWV 51 3. Cantata nº 140, "Wachet Auf", BWV 140 4. Concerto de Brandenburgo nº 4, BWV 1049 (I. Allegro) 5. Ária na Corda Sol da Suíte nº 3, BWV 1068 6. Concerto para Cravo nº 1 em Ré Menor, BWV 1052 (I. Allegro) 7. Cantata nº 208, "Sheep May Safely Graze", BWV 208 Suíte nº 2 em Si Menor para Flauta, BWV 1067 8. Polonaise 9. Minueto 10. Badinerie 11. Cantata nº 147, "Jesus Alegria dos Homens", BWV 147 12. Concerto de Brandenburgo nº 2, BWV 1047(III. Allegro Assai) CONCERTO DE BRANDEMBURGO N° 3, EM SOL MAIOR, BWV 1048 13. Allegro 14. Cadenza 15. Allegro CONCERTO DE BRANDEMBURGO N° 5, EM RÉ MAIOR, BWV 1050 16. Allegro 17. Affettuoso 18. Allegro CONCERTO EM RÉ MENOR PARA CRAVO E ORQUESTRA, BWV 1052 19. Allegro 20. Adagio 21. Allegro CONCERTO EM DÓ MENOR PARA OBOÉ, VIOLINO E ORQUESTRA, BWV 1060 22. Allegro 23. Adagio 24. Allegro 25. TOCATA E FUGA EM RÉ MENOR PARA ÓRGÃO, BWV 565 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Bach