- published: 20 Oct 2012
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Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He enriched 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's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which around two hundred survive. His music is revered for its technical command, artistic beauty, and intellectual depth.
Bach's abilities as an organist were highly respected 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 greatest composers of all time.
Bach was born in Eisenach, in the duchy of Saxe-Eisenach, into a great musical family. His father, Johann Ambrosius Bach, was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, and his brother, Johann Christoph Bach, taught him the clavichord and exposed him to much contemporary music. Apparently at his own initiative, Bach attended St. Michael's School in Lüneburg for two years. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, and as Thomaskantor in Leipzig, a position of music director at the main Lutheran churches and educator at the Thomasschule. He received the title of "Royal Court Composer" from Augustus III in 1736. Bach's health and vision declined in 1749, and he died on 28 July 1750.
Erfreut euch, ihr Herzen (Rejoice, you hearts),BWV 66, is a church cantata for Easter by Johann Sebastian Bach. He composed it for the Second Day of Easter in Leipzig and first performed it on 10 April 1724. He based it on his congratulatory cantata Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a, first performed in Köthen on 10 December 1718.
The cantata is Bach's first composition for Easter in Leipzig. The day before, on Easter Sunday of 1724, he had performed Christ lag in Todes Banden, BWV 4. He derived the cantata for the Second Day of Easter ("den zweiten Osterfesttag") from his earlier secular work, the Serenata Der Himmel dacht auf Anhalts Ruhm und Glück composed in Köthen. On the Third Day of Easter of 1724 he performed Ein Herz, das seinen Jesum lebend weiß, BWV 134, which he derived in a similar way from Die Zeit, die Tag und Jahre macht, BWV 134a, a cantata to celebrate the New Year's Day of 1719 in Köthen.
The prescribed readings for the feast day were from the Acts of the Apostles, the sermon of Peter (Acts 10:34–43), and from the Gospel of Luke, the Road to Emmaus (Luke 24:13–35). The unknown poet faced the problem that Bach's congratulatory cantata was written as a dialogue of tenor and alto. He kept the dialogue in three movements, in the middle section of the opening chorus and two duets, assigning the "roles" Hope ("Zuversicht", later "Hoffnung") and Fear ("Schwachheit", later "Furcht") to the voices. The text reflects these different reactions to the news of the Resurrection of Jesus, which might be attributed both, to the two disciples, discussing the events on their walk, and to the listener of the cantata.
There are over 1000 known compositions by Johann Sebastian Bach. Nearly all of them are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.
The earliest lists of Bach's compositions are given by his biographers, starting from his obituary which gives a list of instrumental works printed during the composer's lifetime (from Clavier-Übung I to The Art of Fugue), followed by a list which groups other types of compositions he wrote. The first separately published biography of the composer, by Johann Nikolaus Forkel, follows the same setup: its ninth chapter first lists printed works (adding four-part chorales that were published in the second half of the 18th century), followed by a rough overview of the unpublished ones. In the first half of the 19th century more works were published, so the next biographies (Schauer and Hilgenfeldt in 1850) had more elaborate appendices listing printed works, referring to these works by publisher, and the number or page number given to the works in these publications. So, for example, the Prelude and Fugue in E-flat major can be indicated as "C. F. Peters Vol. III No. 1", or any of the variants ("Griepenkerl and Roitzsch Vol. 3 p. 2", "Peters Book 242 p. 2", "P. S. V., Cah. 3 (242), No. 1", etc.)
The Sonata in G major, Op 28 is Edward Elgar's first sonata composed for the organ and first performed on 8 July 1895. It also exists in an arrangement for full orchestra made after Elgar's death.
The genesis of the work was a request to Elgar to write an organ voluntary for a convention of American organists in the English city of Worcester in 1895. Instead, Elgar decided on a four movement sonata of nearly half an hour's length.
The four movements are:
The opening theme resembles the beginning of Elgar's The Black Knight, a cantata completed two years earlier and gaining acceptance when Elgar began work on the organ sonata. The outer movements follow the classic sonata form; the inner movements are in three-part A-B-A form. Michael Kennedy observes that to play the finale successfully, the organist needs to be a mental and physical athlete.
Elgar wrote, "one week's work", in the score inscription, but that measures only the final constructive push. He had worked on the piece off and on for nearly three months. Biographer Jerrold Moore notes that Elgar depended, in order to complete a work, on the stimulation of an imminent deadline. This was the first time, but not the last, that Elgar cut it so close that there was insufficient time for rehearsal. It was first performed by the Worcester Cathedral organist, Hugh Blair, on 8 July 1895.
A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.
In most Spanish-speaking and Portuguese-speaking countries, two or more last names (or surnames) may be used. In China, Hungary, Japan, Korea, Madagascar, Taiwan, Vietnam, and parts of India, the family name is placed before a person's given name.
The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.
The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.
1. BWV 525 — Organ Sonata No.1 in E-flat major - The Chapel of New College Oxford 2. BWV 526 — Organ Sonata No.2 in C minor - Cathedral at Ratzeburg Germany 3. BWV 527 — Organ Sonata No.3 in D minor - The Chapel of Knox Grammar School Sydney Australia 4. BWV 528 — Organ Sonata No.4 in E minor - DTTO 5. BWV 529 — Organ Sonata No.5 in C major - DTTO 6. BWV 530 — Organ Sonata No.6 in G major - Cathedral at Ratzeburg Germany Picture in video: OXFORD
Johann Sebastian Bach Concerto for Flute, Violin, Harpsichord, Strings and Continuo in A minor BWV 1044: 1. Allegro 0:15 2. Adagio, ma non tanto e dolce 8:11 3. Alla breve 13:03 I Barocchisti Duilio Galfetti [violin] Stefano Bet [flute] Francesco Cera [harpsichord] Diego Fasolis [conductor]
J.S. Bach Cello Suites No.1-6 BWV 1007-1012, Ralph Kirshbaum 1. Cello Suite No.1 in G major BWV 1007 0:00-18:07 Prelude Allemande Courante Sarabande Minuet Gigue 2. Cello Suite No.2 in D minor BWV 1008 18:07-38:02 Prelude Allemande Courante Sarabande Minuet Gigue 3. Cello Suite No.3 in C major BWV 1009 38:02-1:00:39 Prelude Allemande Courante Sarabande Bourree Gigue 4. Cello Suite No.4 in E flat major BWV 1010 1:00:39-1:24:47 Prelude Allemande Courante Sarabande Bourree Gigue 5. Cello Suite No.5 in C minor BWV 1011 1:24:47-1:51:02 Prelude Allemande Courante Sarabande Gavotte Gigue 6. Cello Suite No.6 in D major BWV 1012 1:51:02 Prelude Allemande Courante Sarabande Gavotte Gigue Painting: Jean Raoux, Orpheus and Eurydice, Oil on Canvas, 1709
Album out now: CD & digital: https://wmgartists.com/lp1/9449/dynastie Vinyl: https://wmgartists.com/lp1/9454/dynastie-lp Jean Rondeau, the imaginative young French harpsichordist, describes the Bach family as “one of the great dynasties of western music”. Having devoted his first Erato disc, Imagine, to works by the towering Johann Sebastian, he now returns to Bach’s world for his third release, Dynastie, which complements concertos by Johann Sebastian with concertos by his three most famous sons, Wilhelm Friedemann, Carl Philipp Emmanuel and Johann Christian.
From the protestant church Trogen in Switzerland Choir and Orchestra of the J. S. Bach Foundation Rudolf Lutz - conductor Soloists Alex Potter - alto Julius Pfeifer - tenor Dominik Wörner - bass Johann Sebastian Bach - Cantata BWV 66 "Erfreut euch, ihr Herzen" (Rejoice, all ye spirits) 0:55 I. Chorus (and alto, tenor): Erfreut euch, ihr Herzen 10:01 II. Recitative (bass): Es bricht das Grab und damit unsre Not 10:33 III. Aria (bass): Lasset dem Höchsten ein Danklied erschallen 17:08 IV. Duet recitative (alto, tenor): Bei Jesu Leben freudig sein 21:20 V. Aria (alto, tenor): Ich furchte zwar/nicht des Grabes Finsternisse 28:20 VI. Chorale: Alleluja! alleluja! alleluja! Link to the DVD booklet: https://www.bach-streaming.ch/downloadable/download/sample/sample_id/68/ Subscribe to our chann...
Download the audio files (mp3, aif, wav, flac): https://kimikoishizaka.bandcamp.com/album/j-s-bach-open-goldberg-variations-bwv-988-piano Kimiko Ishizaka on Facebook: https://www.facebook.com/Kimiko.Ishizaka.Pianist "Counterpoint passes back and forth between the hands in a conversational and judiciously balanced manner, while a strong lyrical inlpulse informs the cross-handed variations' rapid, bravura passages (Vars 5 and 19, for example). Ishizaka's restrained and concentrated way with slow minor-key variations (Vars 15,21 and 25) lets the music's agonising harmonic tension speak softly for itself." - Jed Distler, Gramophone Magazine "She has the fleet fingers to speed through the virtuoso variations with compelling clarity and the sensitivity to probe the dramatic potential of the sl...
Johann Sebastian Bach (1685~1750) 《Erfreut euch, ihr Herzen》Kantate, BWV 66 (Kantate Nr. 66 für Solisten, Chor, 2 Oboen, 2 Trompeten, Streicher und Basso Continuo) 1. Chor: "Erfreut euch, ihr Herzen" - 00:00 2. Rezitativ: "Es bricht das Grab" - 09:41 3. Arie: "Lasset dem Höchsten ein Danklied erschallen" - 10:17 4. Rezitativ (Arioso): "Bei Jesu Leben freudig sein" - 16:14 5. Duo Arie: "Ich fürchte zwar" / "Ich fürchte nicht" - 20:40 6. Choral: "Alleluja! Des sollen wir alle froh sein" - 29:29 Kai Wessel (countertenor) James Taylor (tenor) Peter Kooy (bass) Collegium Vocale, Gent Philippe Herreweghe (conductor)
It's here! Our musical director, Rudolf Lutz, is answering your questions in a video session. They are your questions that you've sent on the occasion of reaching 200'000 Facebook fans. Unser musikalischer Leiter, Rudolf Lutz, beantwortet Ihre Fragen in einem ausführlichen Videointerview. Es sind jene Fragen, die Sie uns anlässlich von 200'000 Facebook-Fans gestellt haben. ¡Aquí está! Nuestro director musical, Rudolf Lutz, contesta a sus preguntas en este vídeo. Se trata de las preguntas que ustedes nos enviaron con ocasión de nuestros 200000 amigos en Facebook. Subscribe to our channel: https://goo.gl/8R4k9P *** The J.S. Bach Foundation has embarked on a remarkable undertaking: over a period of some 25 years, the Foundation will perform the complete vocal works by Johann Sebastian Ba...
Johann Sebastian Bach: Das Wohltemperierte Clavier András Schiff: piano As a young pianist, András Schiff earned wide esteem for his 1980s recordings of the major keyboard works of J.S. Bach; in recent years, as part of his long-term relationship with ECM, he has gone back to Bach as a sage veteran, earning more acclaim for his New Series recordings of the Goldberg Variations (2001) and the Six Partitas (2007). The New York Times said, “Mr. Schiff is, in Bach, a phenomenon. He doesn’t so much perform it as emit, breathe it.” In August 2011, Schiff turned his focus to the 48 preludes and fugues of The Well-Tempered Clavier, making studio recordings of both books in the Auditorium Radiosvizzera Italiana, Lugano. An iconic inspiration for composers from Mozart and Beethoven to Chopin and Br...
Celebrated by his Chopin awarded recordings and cited by critics as one of those talents that only come along every few decades - has now turned to Bach. The now 31-year-old winner of the 2005 International Chopin Piano Competition, has been immersed in Bach since his childhood and has cultivated a strikingly natural eloquence in his mature interpretations of the composer’s keyboard works. This is the perfect album to show his versatility and fine knowledge of the works of the composer. For more information about the artist please see: http://www.deutschegrammophon.com/art... ___ Find Deutsche Grammophon Online Homepage: http://deutschegrammophon.com Facebook: http://fb.com/deutschegrammophon Twitter: http://twitter.com/dgclassics Instagram: http://instagram.com/dgclassics Newslet...
Das legendäre Bach-Porträt von Elias Gottlob Haußmann ist aus den USA nach Leipzig zurückgekehrt. Dort trifft Sarah den Dirigenten Sir John Eliot Gardiner, der eine ganz besondere Beziehung zu dem Bild und zu Bach hat. Mehr: http://www.dw.com/sarahsmusic
Glenn Gould talks about J S Bach At 31:50 an unknown Bach´s choral is played.
https://BC.lnk.to/BachandSons2ID Die Faszination gab es bereits früh: Als Kind erlebte Sebastian Knauer bedeutende Aufführungen der „Matthäus“-Passion und des „Weihnachtsoratoriums“ im Hamburger Michel. Und schon damals spielte er Bach gerne selbst am Klavier. Doch unter die kindliche Begeisterung mischte sich eine gehörige Portion Respekt vor den Werken des Thomaskantors. „Ich habe gleich gemerkt: Das ist eine riesige Herausforderung – nicht nur pianistisch, sondern auch für den Kopf“, erinnert er sich. Bewusst ließ Sebastian Knauer sich Zeit, beschäftigte sich intensiv mit Bachs musikalischem Kosmos – bevor er sich damit einem Publikum präsentierte. „Als Pianist wollte ich eine gewisse Routine auf der Bühne haben, zu einer inneren Ruhe finden“, erklärt er. „Bei Bach ist das besonders wi...
Gardiner, author of the new book, Bach: Music in the Castle of Heaven, has a unique perspective on Bach (http://goo.gl/J7gH2K). He is both a historian and a world-renowned conductor who has throughout his career made hundreds of recordings on the prestigious Deutsche Grammophon label. Bach, the orphan rebel, had a suspicion of authority that ran deep throughout his life, and made him an often domineering and unpleasant person to deal with. Gardiner doesn't see any contradiction here. "The very fact that this music is so profound and so uplifting and the man is clearly not a saint makes it all the more interesting," he says. Transcript -- I think there's been a slightly deplorable tendency amongst Bach's biographers to paint Bach the human being in a very complimentary light. To imply tha...
Zur offiziellen Künstlerseite von András Schiff: to the official artist page of András Schiff: http://www.klassikakzente.de/andras-schiff
Glenn Gould talks about the Art of fugue.
Preview: https://lnk.to/blechacz_bach Celebrated by his Chopin awarded recordings and cited by critics as one of those talents that only come along every few decades - has now turned to Bach. The now 31-year-old winner of the 2005 International Chopin Piano Competition, has been immersed in Bach since his childhood and has cultivated a strikingly natural eloquence in his mature interpretations of the composer’s keyboard works. This is the perfect album to show his versatility and fine knowledge of the works of the composer. For more information about the artist please see: http://www.deutschegrammophon.com/artist/blechacz/ ___ Find Deutsche Grammophon Online Homepage: http://deutschegrammophon.com Facebook: http://fb.com/deutschegrammophon Twitter: http://twitter.com/dgclassic...
Vertraut geleitet an den fremden Ort, ließ ich manches zurück, und bewegte mich fort.
Ein Stück von dort war ein unbekanntes Ziel, das ich so nicht verfolgte, wie in
einem Spiel waren die Regeln verschwommen, es gab nichts zu bekommen, es gab nichts
zu gewinnen, ich ließ mich einfach spinnen, die Zeit verrinnen und sah mir nur zu,
wie mir Fühler wuchsen, deren Grund warst du. Offen und heimlich, aufrecht und
peinlich war der Zufall geplant, entstand so ein Land, das wir oft verließen, öfter
aufeinander stießen, es bei Ahnungen beließen, die uns neues verhießen, deine
Gedanken, die konnten nicht klärn, wer gewinnt. Unser Traum fand die Worte nicht,
die er verdient, doch fand die Neugier ihren eigenen Lohn, und bahnte sich Wege im
Flüsterton.
Wie alles begann, kommt mir dann und wann in den Sinn,
über tausend Mauern führte doch mein Gang zu dir hin.
Was alles geschah, glänzt wieder wie Gold,
Fortsetzung folgt.
Wir liefen los nebeneinander einen schier endlosen Weg, im Wald der Stille die
Hoffnung gesät und gespäht, worin sich der andre verrät, wohin der Pfad geht, wie
die Prüfung gerät. Kühne Gefühle, tanzten nun auf der Bühne, im Keller der
Zweisamkeit wurde es heller, so hell, dass das Augenlicht schreckte, versteckte
Signale, die ich dir zum Leuchtfeuer erweckte. Verwebte Erwartung gesteigert,
erweitert die Sinne, war uns an der Stelle der Schwelle der Zutritt verweigert, der
Anfang vom Ende das Ende vom Ende und mit ihm die Wende.
Wie alles begann, kommt mir dann und wann in den Sinn,
über tausend Mauern führte doch mein Gang zu dir hin.
Was alles geschah, glänzt wieder wie Gold,
Fortsetzung folgt
Die Sinne, die wurden uns neu geboren, verborgene Dinge verborgen geborgen. Der
Morgen danach war ein Morgen davor, ein Endpunkt wurde zum glänzenden Tor. Die
Eindrücke füllten uns unsere Seelen, verhüllte Gefühle warn nun anzusehen, freizügig
zu stehlen aus unendlichem Schatz - unsre Heimat nahm Platz.