Vox Luminis Program Final Copy

Total Page：16

File Type：pdf, Size：1020Kb

MUSIC BEFORE 1800 Louise Basbas, Director Vox Luminis Schütz and the Bach Family Lionel Meunier, artistic director Zsuzsi Tóth, Sara Jäggi, Helen Cassano, Maria Valdmaa, sopranos Jan Kullmann, Barnabás Hegyi, altos Olivier Berten, Philippe Froeliger, Robert Buckland, Michael Barrett, tenors Bertrand Delvaux, Lionel Meunier, basses Ricardo Rodriguez Miranda, viola da gamba; Jorge Lopez-Escribano, organ Musikalische Exequien Heinrich Schütz (1585 - 1672) !Mit Fried und Freud ich fahr dahin Martin Luther (chorale) !Concert in Form einer teutschen Begräbnis-Missa, SWV 279 Heinrich Schütz Motette: Herr, wenn ich nur dich habe, SWV 280 ! Heinrich Schütz Herr, nun lässest du deinen Diener in Friede fahren, SWV 281 Heinrich Schütz !Canticum B. Simeonis ! INTERMISSION Sei nun wieder zufrieden meine Seele ! Johann Bach (1604 - 1673) !Herr wenn ich nur dich habe Johann Michael Bach (1648 - 1694) !Halt was du hast Johann Michael Bach !Ich weiss, dass mein Erlöser lebt Johann Michael Bach !Der Mensch vom Weibe geboren Johann Christoph Bach (1642 - 1703) !Herr nun lässest du deinen Diener Johann Christoph Bach !Das Blut Jesu Christi Johann Ludwig Bach (1677 - 1731) Das ist meine Freude Johann Ludwig Bach ! Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Aﬀairs in partnership with the City Council. Please note that photography and the use of recording devices are not permitted. Remember to turn oﬀ all cellular! phones and pagers. Corpus Christi Church 4 p.m. Sunday, October 26, 2014.

Copy Link

Recommended publications

Stadtkirche St. Michael Kirche Gehren
Stadtkirche St. Michael Kirche Gehren Auch Gehren kann in seiner Geschichte auf mehrere Kirchbauten verweisen. Dort, wo heute die Stadtkirche St. Michael steht, befand sich ein Vorgängerbau, dessen erste Erwähnung aus dem Jahre 1521 stammt. Hier war Johann Michael Bach, der Schwiegervater von Johann Sebastian Bach, von 1673 bis 1694 als Organist tätig. Anfang des 18. Jh. wurde diese Kirche zu klein für die ständig wachsende Zahl der Gottesdienstbesucher, da mit dem Ausbau der fürstlichen Verwaltungsstrukturen als „Amt“ Gehren der Ort überregionale 1834 Bedeutung erlangte. Eine 1729 eingeweihte größere Kirche auf dem benachbarten Kirchberg stand allerdings nur 20 Jahre, dann fiel sie einem Brand zum Opfer. So wurde die Kirche am Markt bis 1830 genutzt. Dann riss man sie ab und erbaute an gleicher Stelle im klassizistischen Stil eine Neue. In der „kirchenlosen Zeit“ fanden die Gottesdienste in der Kapelle des Gehrener Schlosses statt. Der Kirchturm der neuen Kirche hatte zunächst eine ebene Plattform. 35 Jahre später erst erhielt er die heutige Spitze mit vier kleinen Ecktürmchen. 1895 wurde eine vom Hof-Orgelbauer Sauer gebaute Orgel installiert. Aus dem gleichen Jahr stammt auch die Kanzel. 1924 schenkte die Fürstin Marie von Schwarzburg- Sondershausen der Kirchgemeinde einige Kunstgegenstände aus der nicht mehr genutzten Schlosskapelle. Diese wurden dadurch kein Opfer der Flammen, die das Schloss 1933 zerstörten. Der etwas streng wirkende Altarraum erhielt in den 1960er Jahren seine heutige Form. In diesem Zusammenhang kam der von der Fürstin Marie gespendete Altar nach Jesuborn. 1917 mussten die drei Bronzeglocken – eine davon fast 450 Jahre alt – zur Einschmelzung abgeführt werden. Heute läuten nun an ihrer Stelle drei Stahlglocken.
[Show full text]
Im Auftrag Der Internationalen Heinrich-Schütz-Gesellschaft E.V. Herausgegeben Von Walter Werbeck in Verbindung Mit Werner Brei
Im Auftrag der Internationalen Heinrich-Schütz-Gesellschaft e.V. herausgegeben von Walter Werbeck in Verbindung mit Werner Breig, Friedhelm Krummacher, Eva Linfield 33. Jahrgang 2011 Bärenreiter Kassel . Basel . London . New York . Praha 2012_schuetz-JB_druck_120531.ind1 1 31.05.2012 10:03:13 Gedruckt mit Unterstützung der Internationalen Heinrich-Schütz-Gesellschaft e.V. und der Landgraf-Moritz-Stiftung Kassel © 2012 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Alle Rechte vorbehalten / Printed in Germany Layout: ConText, Carola Trabert – [email protected] ISBN 978-3-7618-1689-9 ISSN 0174-2345 2012_schuetz-JB_druck_120531.ind2 2 31.05.2012 10:03:13 Inhalt Vorträge des Schütz-Festes Kassel 2010 Heinrich Schütz und Europa 7 Silke Leopold Heinrich Schütz in Kassel 19 Werner Breig Europa in der ersten Hälfte des 17. Jahrhunderts 31 Georg Schmidt Music and Lutherian Devotion in the Schütz Era 41 Mary E. Frandsen »Mein Schall aufs Ewig weist«: Das Jenseits und die Kirchenmusik in der lutherischen Orthodoxie 75 Konrad Küster Medien sozialer Distinktion: Funeral- und Gedenkkompositionen des 17. Jahrhunderts im europäischen Vergleich 91 Peter Schmitz Echos in und um »Daphne« 105 Bettina Varwig Heinrich Schütz und Otto Gibel 119 Andreas Waczkat, Elisa Erbe, Timo Evers, Rhea Richter, Arne zur Nieden Heinrich Schütz as European cultural agent at the Danish courts 129 Bjarke Moe Freie Beiträge Eine unbekannte Trauermusik von Heinrich Schütz 143 Eberhard Möller Heinrich Schütz und seine Brüder: Neue Stammbucheinträge 151 Joshua Rifkin Die Verfasser der Beiträge 168 2012_schuetz-JB_druck_120531.ind3 3 31.05.2012 10:03:13 Abkürzungen ADB Allgemeine deutsche Biographie, München u. Leipzig 1876 – 1912 AfMw Archiv für Musikwissenschaft AmZ Allgemeine musikalische Zeitung Bd., Bde.
[Show full text]
The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts Sara Ann Jones B. A., McNeese State University
[Show full text]
The American Bach Society the Westfield Center
The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance.
[Show full text]
1. Die Musikerfamilie Bach Kat. 1: "Ursprung Der Musicalisch-Bachischen Familie", Sog. Genealogie, Wahrscheinlich
Jens Ph. Wilhelm, "Dieß wunderbarste Räthsel aller Zeiten" (R. Wagner): Johann Sebastian Bach 1 Johann Sebastian Bachs Herkunft, Leben, Werk und Nachwirken (Katalogteil) - Auszug aus dem Katalog zu der Mannheimer Ausstellung des Bachhauses Eisenach (25.2.-26.3.2000) - 1. Die Musikerfamilie Bach Kat. 1: "Ursprung der musicalisch-Bachischen Familie", sog. Genealogie, wahrscheinlich von Johann Sebastian Bach Ende 1735 verfaßt, hier in der Abschrift Anna Carolina Philippina Bachs mit Zusätzen Carl Philipp Emanuel Bachs (sog. Quelle A) [Faksimile (Staatsbibliothek zu Berlin. Preußischer Kulturbesitz. Musikabteilung mit Mendelssohn- Archiv, Mus. ms. theor. 1215) - Bachhaus Eisenach; Bachdok. I/184] S.u. Dok. 1 mit einem Auszug hieraus. - Die von Bach verfaßte Genealogie ist in drei Abschriften überliefert. Sie umfaßt über einen Zeitraum von mehr als 150 Jahren biographische Angaben zu 53 Mitgliedern der Familie Bach, fast ausnahmslos Musiker. Zusammen mit dem von Bach verwahrten "Alt-Bachischen Archiv" mit Kompositionen seiner Vorfahren und Verwandten (Kat. 5) ist sie Ausdruck seines ausgeprägten Familiensinns. (Die fragmentarische Quelle C der Genealogie befindet sich übrigens im Bachhaus Eisenach [Inv. 3.1.3.5 = R 11 aF].) Kat. 2: Stammbaum der Familie Bach, nach einer Vorlage - wohl aus dem Besitz Carl Philipp Emanuel Bachs - im 18. Jahrhundert angefertigt [Faksimile (Bibliothèque Royale Bruxelles, Sammlung Johann Jacob Heinrich Westphal) - Bachhaus Eisenach] Die Genealogie (Kat. 1) und der nach ihr angefertigte Stammbaum dienten neben dem sog. Nekrolog (Kat. 63) dem ersten Bachbiographen Johann Nikolaus Forkel als Quellen für seine Schrift "Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke" (Kat. 89). Kat. 2a: Stammbaum der Familie Bach, hrsg. vom Böhnerverein zu Gotha [Faksimile Eisenach 1999 (Bachhaus Eisenach) - Privatbesitz] Kat.
[Show full text]
1 Early Years, 1685–1703
Cambridge University Press 978-1-107-13925-1 — Bach Peter Williams Excerpt More Information – 1 Early years, 1685 1703: background, family, studies The Obituary is headed ‘the Honourable Johann Sebastian Bach, world- famous in organ-playing, Royal Polish and Electoral Saxon Court Com- poser and Music Director in Leipzig’, and begins Johann Sebastian Bach belongs to a family in all of whose members equally a love for and skill in music seem, as a common gift, to have been imparted by nature. Emanuel Bach, presumably responsible for these words, was familiar with the outlines of his family’s musical history, since quite apart from any anecdotes about it that circulated in the family, his father had spent time around the age of ﬁfty compiling on paper a selective genealogy. This is the ‘Origin of the musical-Bach family’, Ursprung der musicalisch-Bachischen Familie (Dok. I, pp. 255–61), a Genealogy known to Emanuel in whose household it was later copied: a unique source of information about the family tree and, in the sparseness of other evidence, used ever since in all kinds of connections. This is a document, often since referred to as a ‘table’, into which something can be read about the composer, his interests, his industry, even now and then his opinions. Although for reasons that can only be guessed Bach contributed little to the published biographies and autobiographies of the day, he did compile a genealogical list either from scratch after many time-consuming enquiries or, more likely, by revising and enlarging an older document begun by a previous member of this large family.
[Show full text]
Doblinger, 1975. OS1 ALB Albrechtsberger, Johann Georg,8 Kleine 1736-1809
OS1 ALB Albrechtsberger, Johann Georg,5 Praeludien 1736-1809. für Orgel / Wien : Doblinger, 1975. OS1 ALB Albrechtsberger, Johann Georg,8 kleine 1736-1809. Praeludien : für Orgel / Wien : Doblinger, c1975. OS1 ARN Arnold, Samuel, 1740-1802.Six overtures for the harpsichord or piano forte, opera VIII / New York : Performers' Facsimiles, [1992] OS1 BAC Bach, Carl Philipp Emanuel,Preludium 1714-1788, and composer. six sonatas = (Preludium en zes sonates) / Hilversum, Holland : Internationale Muziekuitgeverij Harmonia-Uitgave, [between 1950 and 1959?] OS1 BAC Bach, Carl Philipp Emanuel,Organ 1714-1788. works / Los Altos, Calif. : Packard Humanities Institute, 2008 OS1 BAC Bach, Carl Philipp Emanuel,Sonaten 1714-1788. für Orgel = Organ sonatas / Wien : Wiener Urtext Edition, c1995 OS1 BAC Bach, Johann Sebastian, 1685-1750,Orgelwerke composer. = Organ works / Kassel ; Basel ; London : Bärenreiter, 1958-1984. OS1 BAC Bach, Johann Sebastian, 1685-1750,Das wohltemperierte composer. Klavier = The well-tempered clavier / Kassel ; Basel ; London : Bärenreiter, [1989?-1996?] OS1 BAC Bach, Johann Sebastian, 1685-1750,Choralpartiten composer. ; einzeln überlieferte Choralbearbeitungen A-G = Chorale partitas ; individually tra Wiesbaden : Breitkopf & Härtel, [2018] OS1 BAC Bach, Johann Sebastian, 1685-1750,Die sechs Französischencomposer. Suiten : BWV 812-817 : ältere Fassung (A) und jüngere Fassung (B) mit VerKassel ; Basel ; London : Bärenreiter, [1980?] OS1 BAC Bach, Johann Sebastian, 1685-1750,Einzeln überlieferte composer. Choralbearbeitungen H-Z = Individually transmitted organ chorales H-Z / Wiesbaden : Breitkopf & Härtel, [2018] OS1 BAC Bach, Johann Sebastian, 1685-1750,Fantasien composer.; Fugen = Fantasias ; Fugues / Wiesbaden : Breitkopf & Härtel, [2016] OS1 BAC Bach, Johann Sebastian, 1685-1750,Inventionen composer. und Sinfonien = Inventions and symphonies / Kassel ; Basel ; London : Bärenreiter, [1972?] OS1 BAC Bach, Johann Sebastian, 1685-1750,Orgelchoräle composer.
[Show full text]
2010-2011 Season Schedule
2010-2011 Season Schedule Sunday Bach Vespers with the Bach Choir and Mercury Baroque October 10 Johann Sebastian Bach: Ihr werdet weinen und heulen, Cantata bwv 103 6:00 p.m. Johann Hermann Schein: Die mit Tränen säen Johann Michael Bach: Nun hab’ ich überwunden Rebecca Henderson, alto • Patrick Perez, tenor • Jackson Felder, bass Robert Bates, guest organist • Albert LeDoux, director Sunday Abendmusik: Inauguration of the new Mietke harpsichord October 17 J. S. Bach: Brandenburg Concerto no. 5 in D Major, bwv 1050 7:30 p.m. Carl Philipp Emanuel Bach: Concerto in G Major for harpsichord and works by Georg Philipp Telemann and Christlieb Binder Mercury Baroque • Jana Semeradová, traverso Sebastian Knebel, harpsichord and director Sunday Organ Vespers with Wolfgang Rübsam (Saarbrücken/Valparaiso, IN) November 7 J. S. Bach: Toccata and Fugue in F Major, bwv 540 6:00 p.m. J. S. Bach: Prelude and Fugue in G Minor, bwv 535 and other works Sunday Bach Vespers with the Bach Choir and Mercury Baroque November J. S. Bach: Gott ist mein König, Cantata bwv 71 21 Johann Pachelbel: Der Herr ist König 6:00 p.m. Telemann: Ein’ feste Burg ist unser Gott Juliana Anthony, soprano • Sarah Brindley, alto Patrick Perez, tenor • Christopher Besch, bass Joseph Causby, guest organist • Albert LeDoux, director Sunday Abendmusik: Music for Advent and Christmas December 5 J. S. Bach: Schwingt freudig euch empor, Cantata bwv 36 6:00 p.m. J. S. Bach: Nun komm, der Heiden Heiland, Cantata bwv 62 Arvo Pärt: Magnificat Briana Kruse, soprano • Sonja Bruzauskas, alto Randall Umstead, tenor • Gabriel Preisser, bass Bach Choir • Mercury Baroque • Albert LeDoux, director Sunday Organ Vespers with Pavel Kohout (Prague) January 2 J.
[Show full text]
The Art of Bach
Friday 10 – Sunday 12 January Manchester Cathedral, St Ann’s Church, Chetham’s School of Music RNCM CHAMBER MUSIC FESTIVAL THE ART OF BACH /rncmvoice /rncmlive Box Ofﬁ ce 0161 907 5555 www.rncm.ac.uk/chamberfestival WELcome… …to this year’s RNCM Chamber Music Festival, devoted to the music of one of the most influential composers of all time - Johann Sebastian Bach. For the first time ever, we bring the Festival to the centre of Manchester, with concerts taking place in Manchester Cathedral and St Ann’s Church, religious buildings akin to those in which Bach’s music itself would have first been heard. Bach’s The Art of Fugue, 90 minutes of exquisite music based on just one four-bar theme, is at the very heart of this year’s Festival. Its multiple fugues and canons appear throughout the weekend in new arrangements by RNCM composers, showcasing chamber music in all its forms, with striking combinations featuring strings, wind, brass, and chamber choir. We present all six Brandenburg Concertos in the daytime concerts, performed by RNCM students alongside guests from the Gould Piano Trio, the Talich Quartet, tutors from the RNCM and Chetham’s School of Music, and the RNCM Junior Fellows in Chamber Music, the Sitkovetsky Piano Trio. We feature music by Bach’s extended family of composers, and in particular, Johann Sebastian’s son, CPE Bach, in this his 300th anniversary year. The programme also includes two sacred choral works as part of services at Manchester Cathedral, featuring the Cathedral Choir alongside RNCM musicians. We also warmly welcome musicians from Chetham’s, St Mary’s Music School, the Royal Irish Academy of Music, and Junior RNCM.
[Show full text]
J.S. BACH COMPLETE ORGAN MUSIC Liner Notes
J.S. BACH COMPLETE ORGAN MUSIC Liner notes CD1 and reflects the influence of Georg Böhm and the tastes The majority of the recordings made using the Trost of central and southern Germany. The cantus firmus (on organ in Waltershausen consist of trio sonatas that were the pedal) alludes to death, but with serenity not originally conceived as compositions for the organ. reminiscent of the chorales from the Orgelbüchlein Only No.6 was deliberately composed for the collection, (BWV 616 and 617) on the Canticle of Simeon, with while many derive from other trios. Sonatas Nos. 2, 5 subdivision of the phrases and imitations of the and 6 are homogeneous, in that they share common individual elements. The BWV736 version in D major, features: the structure of the first movement in the which was composed later, also expresses serenity, concerto style, for instance, with alternating solo and though the way it is constructed is different, in that the ensemble parts; and that of the third movement in the chorale, played by the pedal, emerges from the weft in style of the fugue. Bach had envisaged the collection for triplets of the upper voices. his son Wilhelm Friedemann, introducing some The partita O Gott, du frommer Gott BWV767 (and remarkably innovative developments in form and Sei gegrüßet BWV768) appears to be a series of content, and in general adhering to the style of the variations on a chorale often used in the Thuringian sonata and the Italian concerto. That said, however, the (Buttstett) tradition. It was probably intended as a focus is largely on the keyboard, with the pedal generally collection of material that could be alternated with the ‘simplified’ in the themes (with respect to compositions canto.
[Show full text]
Johann Sebastian Bach by Johann Nikolaus Forkel and Charles Sanford Terry
The Project Gutenberg EBook of Johann Sebastian Bach by Johann Nikolaus Forkel and Charles Sanford Terry This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Johann Sebastian Bach Author: Johann Nikolaus Forkel and Charles Sanford Terry Release Date: January 24, 2011 [Ebook 35041] Language: English ***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH *** Johann Sebastian Bach. About 1720. (From the picture by Johann Jakob Ihle, in the Bach Museum, Eisenach). Johann Sebastian Bach His Life, Art and Work. Translated from the German of Jo- hann Nikolaus Forkel. With notes and appendices by Charles Sanford Terry, Litt.D. Cantab. Johann Nikolaus Forkel and Charles Sanford Terry Harcourt, Brace and Howe, New York 1920 Contents Introduction . xi FORKEL'S PREFACE . xxi CHAPTER I. THE FAMILY OF BACH . .3 Chapter II. THE CAREER OF BACH . 11 CHAPTER IIA. BACH AT LEIPZIG, 1723-1750 . 31 CHAPTER III. BACH AS A CLAVIER PLAYER . 47 CHAPTER IV. BACH THE ORGANIST . 57 CHAPTER V. BACH THE COMPOSER . 65 CHAPTER VI. BACH THE COMPOSER (continued) . 73 CHAPTER VII. BACH AS A TEACHER . 83 CHAPTER VIII. PERSONAL CHARACTERISTICS . 95 CHAPTER IX. BACH'S COMPOSITIONS . 101 CHAPTER X. BACH'S MANUSCRIPTS . 125 CHAPTER XI. THE GENIUS OF BACH . 129 APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS . 137 APPENDIX II. THE CHURCH CANTATAS AR- RANGED CHRONOLOGICALLY . 151 APPENDIX III.
[Show full text]
The Bach Family
Geistliche Musik der Bach-Familie Sacred Music of the Bach Family The Bach Family Bach-Ensemble – Helmuth Rilling 2.K CD1 Wilhelm Friedrich Ernst Bach Johann Christoph Bach (1642–1703) Sänger/Singers (1759–1845) Wie bist du denn, o Gott, in Zorn auf Richard Anlauf, Bass – 1 (Chorus latens) Johann Bach (1604–1673) Vater unser/Lord Our Father mich entbrannt/Shall thus Thy wrath, Aldo Baldin, Tenor – 2 (Nr. 1), 4, 5 Unser Leben ist ein Schatten/ für Tenor, Bass, Chor und Orchester/ o God, consume in its blaze Arleen Augér, Sopran/soprano – 7, 9, 13 We must Vanish Like A Shadow for tenor, bass, choir and orchestra (6) Lamento für Bass, Violine, drei Gamben und Kathrin Graf, Sopran/soprano – 2 Motette zu neun Stimmen in zwei Chören/ Generalbass/Lamento for bass, violin, three Julia Hamari, Alt/alto – 10 Motet for nine voices in two choirs (1) CD 2 gambas and basso continuo (11) Walter Heldwein, Bariton/baritone 1 Philippe Huttenlocher, Bariton/baritone Johann Ludwig Bach (1677–1731) Wilhelm Friedemann Bach (1710–1784) Johann Michael Bach (1648–1694) – 4, 7 Die mit Tränen säen/ Erzittert und fallet/ Sei, lieber Tag, willkommen/ Arthur Janzen, Tenor – 1 (Chorus latens) Who Has Sorrow Planting O Tremble, Fall Down Now O joyful time, we greet you Adalbert Kraus, Tenor – 1, 2 (Nr. 4), 6, 7 Kantate für Soli, Chor und Streichorchester Kantate für Soli, Chor und Orchester/ Motette zu sechs Stimmen/Motet for six Erika Schmidt-Valentin, Alto/alto – 5 mit Generalbass/Cantata for soloists, choir Cantata for soloists, choir and orchestra (7) voices (12)
[Show full text]