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Veranstaltungen März 2018 Bis September 2018
VERANSTALTUNGEN März 2018 bis September 2018 mit DENZLINGER TERMINKALENDER Gesundheit auf mehr als 5.200 qm. Physiotherapie Medizinische Trainingstherapie Fitness / Gesundheitstraining Racket-Sport Wellness Restaurant & Lounge Kostenlose Parkplätze Wir freuen uns auf Ihren Besuch Sportzentrum Denzlingen GmbH Gesundheits- und Trainingszentrum Gottlieb-Daimler-Strasse 6 79211 Denzlingen Tel: 07666.45 58 www.gesundheitszentrum-denzlingen.de VeranstaltungenKultur & Bürgerhaus Denzlingen KulturInhalt •& Kontakt Bürgerhaus • Impressum Denzlingen Inhalt Grußwort ........................................................................... ............5 Veranstaltungen ....................................................................... ......7 Kulinarischer Kalender.................................................................... 50 Denzlinger Terminkalender ....................................................... �����53 Anfahrtsbeschreibung .............................................................. ....69 Kontakt Kultur & Bürgerhaus Denzlingen Stuttgarter Straße 30, 79211 Denzlingen, Telefon: 07666-8810-0, Telefax: 07666-8810-12, www.kultur-und-buergerhaus.de Bürozeiten: Mo - Fr 11 – 17 Uhr, oder nach tel. Vereinbarung Geschäftsleitung Thomas Mario Hörnisch (Geschäftsführer Delcanto & KuB), [email protected] Sabrina Lickert (Stv. Geschäftsführung KuB), [email protected] Christian Sprießler (Geschäftsführung Gastronomie), [email protected] Veranstaltungsbüro Kultur & Bürgerhaus Christiane Reißmann, Tel.: 07666-8810-11, [email protected] -
M. Suzuki & Bach Collegium Japan (BIS
BIS.CD-791STEREO IDD DI Total playing time: 79'09 BACH,Johann Sebastian rroas-rzsol Cantatas3: Cantatasfrom Weimar I Cantata No.12, 'Weinen, Klagen, Sorgen, Zagen', BWV 12 23',28 Kantateam Sonntag Jubilate tr l. Sinfonia Oboi.Violini. Viole. Basso conrinuo (Fagoito, Violoncello, violone. Organo) 2'31 tr 2. Coro Violini. Viole. BassocontinLro (FagdIo. Violoncello.Vioione. Organo) 6'55 tr 3, Recitativo Aho. Violini. Viole. Bassoconriiuo (Violoncello,Violone. Organo) 0'46 tr 4. Aria Alto, Oboe, Bassoconlinuo (Violoncello.Organo) 6'01 L!.1 5. Aria Basso.Violini. Vlola. Bassocontinuo (FagoIIo. Vidoncello. Violone.Organo) 2'14 tr 6. Aria Tenore. Tronlba. Basso conlinuo (Fagotro. Or'qano) 3'56 tr 7. ChOfal Oboe.Tromba. Violini. Viole. Bassoconrinuo (Fagofio. Violoncello. \'iolone. Organo) 0'50 Cantata No.54, 'Widerstehe doch der Siinde', BWV 54 10'31 Kantateam Sonntag Oculi tr l. Aria ALlo.Violiii, Viola. Bas50continuo (Viololcello. Viokrne,Organo) 6'0,1 tr 2. RecitativO Alro, Bassoconrinuo (Violoncello. Organo) t'23 @ 3. Aria Alro. Volirli. Viola. B$so continuo(Violoncello- Violone, Organo) 3'03 Cantata No.162,'Ach, ich sehe,itzt, da ich zur Hochzeit gehe', BWV162 15'36 Kantateam 20. Sonntaq nach Trinitatis E 1. Aria Basso.Violini, Viola. Bassocontinuo (Fagor().Viok)ncello, Violone. Organo) 3'41 'fenore. tr 2. Recitativo Bassoconrinuo (Violoncello. Orcano) t'44 @ 3. Aria Soprano,Flauto dolce. Bassocontinuo (Violoncello. Organo) 3'37 Obbligatctreconstrutted bl Masaaki Suzuki tr 4, RecitativO Alto. Bassoconrinuo (Violoncello. Organo) t'12 Lt9l 5. Dugtt-Aria Alto. Tenore.Basso conrinuo (Viotoncello. Organo) 3'49 @ 6. Chofal Violini. Viola. B{sso conrinuo(Fagotro. Violoncello, \iolone, Organo) 0'58 l-f'the r uurrr Br'. -
Great Sacred Music Easter Day, April 4, 2021
Great Sacred Music Easter Day, April 4, 2021 Traditional, arr. John Rutter: Jesus Christ is risen today The Choir of Saint Thomas Church, New York City; Saint Thomas Brass, John Scott Jeremy Bruns, organ Randall Thompson: Alleluia Harvard University Choir, Murray Forbes Somerville Joseph Noyon, arr. Gerre Hancock: Christus Vincit The Choir of Saint Thomas Church, New York City; St. Thomas Brass, John Scott Jeremy Bruns, organ From Oxford University Press: Christ the Lord Is Risen Today is an arrangement of the Easter hymn tune ‘Lyra Davidica’ for SATB, optional congregation, and organ or brass choir. Dr. Murray Forbes Somerville was Gund University Organist and Choirmaster from 1990 to 2003, The Memorial Church at Harvard University. This festive Easter anthem by French composer Joseph Noyon (1888-1962) is the only piece in his extensive oeuvre which survives in common usage. Henry Ley: The strife is o'er Choir of Liverpool Cathedral, David Poulter Ian Tracey, organ Pietro Mascagni: Regina coeli (Easter Hymn) from Cavalleria rusticana Atlanta Symphony Orchestra & Choruses, Robert Shaw Christine Brewer, soprano Diane Bish: Improvisation on the hymn tune "Duke Street" Diane Bish, organ 1969 Walcker organ of the Ulm Cathedral, Austria Francis Pott translated the 17th century Latin text for "The strife is o’er” in 1861. The musical forces which appear in this morning’s performance of Mascagni’s Easter Hymn are as rich and lush as the music itself. Kansas native Diane Bish (1941-) has had a dazzling career as a professional organist. Ms. Bish has played recitals on organs worldwide. Easter Greeing: The Reverend Canon Jean Parker Vail Sir Arthur Sullivan, arr. -
Download Booklet
BIS.CD-791STEREO IDD DI Total playing time: 79'09 BACH,Johann Sebastian rroas-rzsol Cantatas3: Cantatasfrom Weimar I Cantata No.12, 'Weinen, Klagen, Sorgen, Zagen', BWV 12 23',28 Kantateam Sonntag Jubilate tr l. Sinfonia Oboi.Violini. Viole. Basso conrinuo (Fagoito, Violoncello, violone. Organo) 2'31 tr 2. Coro Violini. Viole. BassocontinLro (FagdIo. Violoncello.Vioione. Organo) 6'55 tr 3, Recitativo Aho. Violini. Viole. Bassoconriiuo (Violoncello,Violone. Organo) 0'46 tr 4. Aria Alto, Oboe, Bassoconlinuo (Violoncello.Organo) 6'01 L!.1 5. Aria Basso.Violini. Vlola. Bassocontinuo (FagoIIo. Vidoncello. Violone.Organo) 2'14 tr 6. Aria Tenore. Tronlba. Basso conlinuo (Fagotro. Or'qano) 3'56 tr 7. ChOfal Oboe.Tromba. Violini. Viole. Bassoconrinuo (Fagofio. Violoncello. \'iolone. Organo) 0'50 Cantata No.54, 'Widerstehe doch der Siinde', BWV 54 10'31 Kantateam Sonntag Oculi tr l. Aria ALlo.Violiii, Viola. Bas50continuo (Viololcello. Viokrne,Organo) 6'0,1 tr 2. RecitativO Alro, Bassoconrinuo (Violoncello. Organo) t'23 @ 3. Aria Alro. Volirli. Viola. B$so continuo(Violoncello- Violone, Organo) 3'03 Cantata No.162,'Ach, ich sehe,itzt, da ich zur Hochzeit gehe', BWV162 15'36 Kantateam 20. Sonntaq nach Trinitatis E 1. Aria Basso.Violini, Viola. Bassocontinuo (Fagor().Viok)ncello, Violone. Organo) 3'41 'fenore. tr 2. Recitativo Bassoconrinuo (Violoncello. Orcano) t'44 @ 3. Aria Soprano,Flauto dolce. Bassocontinuo (Violoncello. Organo) 3'37 Obbligatctreconstrutted bl Masaaki Suzuki tr 4, RecitativO Alto. Bassoconrinuo (Violoncello. Organo) t'12 Lt9l 5. Dugtt-Aria Alto. Tenore.Basso conrinuo (Viotoncello. Organo) 3'49 @ 6. Chofal Violini. Viola. B{sso conrinuo(Fagotro. Violoncello, \iolone, Organo) 0'58 l-f'the r uurrr Br'. -
THEATRES University of W.A Ephemera PR8065/THE
THEATRES University of W.A Ephemera PR8065/THE To view items in the Ephemera collection, contact the State Library of Western Australia CALL NO. DESCRIPTION PR8065/THE/1 A review of the inaugural production at the New Fortune. Nation an Independent Journal of Opinion. Issue No 137. 8 February 1964 PR8065/THE/2 Telegrams received for the New Fortune to 28 January 1964. PR8065/THE/3 The deliciously irreverent Nola Rae. Octagon Theatre. 1-4 September 1979 PR8065/THE/4 Visiting English Clairvoyants/Mediums. Leaflet. The Octagon Theatre. May 1982 D PR8065/THE/5 Women beware women. Thomas Middleton's Great Jacobean Tragedy. Octagon Theatre. April 1982 PR8065/THE/6 Grand Variety Concert arranged by Toc-H. Octagon Theatre. August 1982 D PR8065/THE/7 The Kodaly Hungarian Folkloric Ensemble. Octagon Theatre. January 1983 PR8065/THE/8 John and Bernadette Taylor Ballet School presents 'The Magic of Alice in Wonderland'. Octagon Theatre. June 1983 PR8065/THE/9 The San Quentin Drama Workshop. Octagon Theatre. July c1986 PR8065/THE/10 'Armide', an opera by Jean Baptiste Lully. Octagon Theatre. September c1986 PR8065/THE/11 'The Taming of the Shrew' by Will Shakespeare. Octagon Theatre. June c1986 PR8065/THE/12 Especially for Mother's Day. Singers of note. Octagon Theatre. June c1986 PR8065/THE/13 'The measures taken'. Brecht. Octagon Theatre. September c1986 PR8065/THE/14 A Noel Coward Gala. Octagon Theatre. October c1987 PR8065/THE/15 The 1980 Dolly Awards. Dolphin Theatre. June c1987 PR8065/THE/16 Auditions for 'A Midsummer Night's Dream'. Dolphin Theatre. June c1987 PR8065/THE/17 'Let's talk backwards'. -
MUSIK Freiburg Das Beste Gehaltskonto in Baden-Württemberg
JAHR- BUCH 2017/18 Hochschule FÜR MUSIK Freiburg Das beste Gehaltskonto in Baden-Württemberg www.sparda-bw.de/auszeichnungen 0 4 Kontoführung, 0 4 Buchungsposten beim SpardaGirokonto.1) Jetzt in wenigen Minuten wechseln! Wir ziehen Ihr Konto bequem für Sie um. Und mit der optionalen SpardaBankCard2) können Sie kostenlos Bargeld an tausenden Automaten, Tankstellen, Bau- und Supermarktkassen abheben. JAHR- BUCH 2017/18 1) Für Mitglieder bei Erwerb von 52¡ Genossenschaftsanteil mit attraktiver Dividende. 2) SpardaBankCard im ersten Kalenderjahr sowie ab 100 bargeldlosen Umsätzen pro weiterem Kalenderjahr 0¡, sonst 10¡ Jahresgebühr. 08_18_Anzeige Giro A5 210x148.indd 1 13.08.18 11:46 JAHR- BUCH 2017/18 Austausch Blockflöten mit Bremen (AGNES DORWARTH) … 086 Institut für Neue Musik (JOHANNES SCHÖLLHORN) … 089 Echo aus Montepulciano (JOHANNES SCHÖLLHORN) … 095 Institut für Musiktheater (THERESA STEINACKER) … 098 Institut für Kirchenmusik (DAVID FRANKE) … 112 Freiburger Institut für Musikermedizin (DR. BERNHARD RICHTER/DR.CLAUDIA SPAHN) … 118 INHALT Freiburger Akademie zur Begabtenförderung (CHRISTOPH SISCHKA) … 122 KURZMELDUNGEN Editorial Dr. Ludwig Holtmeier … 006 Kurz gemeldet … 134 Grußwort Dr. Karl-Reinhard Volz … 008 Neu verpflichtet und Ehrungen … 143 Neue Hochschulratsmitglieder Geburtstage Fritz Keller … 010 Prof. Elza Kolodin 70 Jahre (GUIDO HEINKE) … 153 (HANS-JOACHIM SCHMOLSKI) 155 Neue Rektoratsmitglieder Prof. Antony Plog 70 Jahre … (HANS-JOACHIM SCHMOLSKI) 156 Prof. Dr. Claudia Spahn … 011 Prof. Hans-Peter Müller 70 Jahre … (TIMUR GASRATOV U.A.) 157 Hansjörg Mammel … 014 Prof. Michael Leuschner 70 Jahre … (PHILIPP TERIETE) 160 Dr. Dominik Skala … 015 Prof. Dr. Tibor Szàsz 70 Jahre … Prof. Sonja Prunnbauer 70 Jahre (MATTHIAS KLÄGER, BEATA HUANG, NACHRICHTEN CHRISTIAN KÜTEMEIER, CHRISTIAN REICHERT) … 162 Prof. Michael Baumann 70 Jahre (HANS-JOACHIM SCHMOLSKI) … 164 Neue Professorinnen und Professoren Prof. -
Veranstaltungen September 20182019 Bis März 20192020
VERANSTALTUNGEN September 20182019 bis März 20192020 mit DENZLINGER TERMINKALENDER TESTEN SIE UNS JETZT! Ihre Gesundheit. Unsere Leidenschaft. ✓ Physiotherapie Individuell und Gesundheitsorientiert ✓ Gesundheitstraining Fitnesstraining, Cardiotraining ✓ Beweglichkeitstraining Rückenkonzept, Personaltraining ✓ Racket Sport Tennis, Badminton, und Squash Sportzentrum Denzlingen GmbH Gesundheits- und Trainingszentrum Gottlieb-Daimler-Strasse 6 · 79211 Denzlingen 07666.4558 www.gesundheitszentrum-denzlingen.de VeranstaltungenKultur & Bürgerhaus Denzlingen KulturInhalt •& Kontakt Bürgerhaus • Impressum Denzlingen Inhalt Grußwort ........................................................................... ............5 Veranstaltungen ....................................................................... ......7 Denzlinger Terminkalender ....................................................... �����57 Anfahrtsbeschreibung .............................................................. ....69 Kontakt Kultur & Bürgerhaus Denzlingen Stuttgarter Straße 30, 79211 Denzlingen, Telefon: 07666-8810-0, Telefax: 07666-8810-12, www.kultur-und-buergerhaus.de Bürozeiten: Mo - Fr 9 – 17 Uhr, oder nach Vereinbarung Leitung Kultur & Bürgerhaus Thomas Mario Hörnisch, [email protected] Sabrina Lickert (Stellvertretung), [email protected] Büro Kultur & Bürgerhaus Alexandra Hofmann, Tel.: 07666-8810-11, [email protected] Sabine Kochon, Tel.: 07666-8810-23, [email protected] Isabel Schwer, Tel.: 07666-881017, [email protected] Hausmeister, Technik Gebäude: Jerome -
Radio 3 Listings for 12 – 18 January 2019 Page
Radio 3 Listings for 12 – 18 January 2019 Page 1 of 24 SATURDAY 12 JANUARY 2019 Dietrich Buxtehude (1637-1707) Membra Jesu nostri - 7 passion cantatas BuxWV.75 SAT 01:00 Through the Night (m0001yjc) Barbara Schlick (soprano), Monika Frimmer (soprano), Michael The Art of the Cello Chance (alto), Christophe Pregardien (tenor), Peter Kooy (bass), Amsterdam Baroque Orchestra, Hannover Knabenchor, Ton Estelle Revaz in a solo recital featuring Bach, Berio and Koopman (conductor) Gubaidulina recorded in Switzerland. Jonathan Swain presents. 02:48 AM 01:01 AM Michael Tippett (1905-1998) Johann Sebastian Bach (1685-1750) Five Negro Spirituals from the oratorio "A Child of our Time" Prelude from Cello Suite No 3 in C BWV1009 Vancouver Bach Choir, Bruce Pullan (conductor) Estelle Revaz (cello) 03:01 AM 01:04 AM Maurice Ravel Luciano Berio (1925-2003) Gaspard de la nuit Les mots sont allés Zhang Zuo (piano) Estelle Revaz (cello) 03:22 AM 01:07 AM Franz Schubert (1797-1828) Johann Sebastian Bach (1685-1750) String quartet No 2 in C major D.32 Allemande from Cello Suite No 3 in C, BWV 1009 Orlando Quartet Estelle Revaz (cello) 03:42 AM 01:12 AM Johann Nepomuk Hummel (1778-1837) Xavier Dayer (1972-) Rondo brillant for piano and orchestra in A major Op 56 Cantus II Rudolf Macudzinski (piano), Bratislava Slovak Radio Symphony Estelle Revaz (cello) Orchestra, Ludovít Rajter (conductor) 01:17 AM 04:03 AM Johann Sebastian Bach (1685-1750) Orlande de Lassus (1532-1594) Courante from Cello Suite No 3 in C BWV 1009 Dulces Exuviae - motet Estelle Revaz (cello) -
REBEL Jörg-Michael Schwarz & Karen
R E B E L Jörg-Michael Schwarz & Karen Marie Marmer, directors Hailed by the New York Times as “Sophisticated and Beguiling” and praised by the Los Angeles Times for their “astonishingly vital music-making, the New York-based Baroque ensemble REBEL (pronounced “Re-BEL”) has earned an impressive international reputation, enchanting diverse audiences by their unique style and their virtuosic, highly expressive and provocative approach to the Baroque and Classical repertoire. The core formation of two violins, recorder/traverso, cello/viola da gamba and harpsichord/organ expands with additional strings, winds, theorbo and vocalists, performing on period instruments. REBEL, through its longterm residency from 1997-2009 at historic Trinity Church, Wall Street in New York City, has achieved high acclaim for its collaborations with Trinity Choir in performance, radio broadcasts, webcasts and recordings with works ranging from the cantatas of Bach to large scale works by Monteverdi, Handel, Bach, Purcell, Mozart and Haydn. An 8-CD set of the complete masses of Haydn was released in 2009 on the Naxos label. The REBEL Baroque Orchestra first gained worldwide recognition for its acclaimed performance of Mozart’s Requiem with Trinity Choir under the direction of Dr. Owen Burdick, broadcast nationally over National Public Radio in September 2001, and for its annual performances of Handel’s Messiah and the choral works of Haydn, which had been broadcast live over WQXR-FM in New York City, as well as internationally over the internet. Named after the innovative French Baroque composer Jean-Féry Rebel (1666-1747), REBEL was originally formed in The Netherlands in 1991. -
)Rogramma KOOR EN ORKEST VAN COLLEGIUM VOCALE Bach Cantates D Missa Brevis
)rogramma KOOR EN ORKEST VAN COLLEGIUM VOCALE Bach Cantates d Missa Brevis DESINGEL 24 NOVEMBER 1996 Koor en Orkest van Collegium Vocale muzikale leiding Philippe Herreweghe solisten Ingrid Schmithüsen, sopraan Sarah Connoly, alt Mark Padmore, tenor Peter Kooy, bas Programma Johann Sebastian Bach (1685-1750) Nun komm der Heiden Heiland BWV 61 Missa Brevis in g groot BWV 236 Pauze Schwingt euch freudig empor BWV 36 Nun komm der Heiden Heiland BWV 62 inleiding door Nicole van O pstal. 19.15 u u r. Foyer begin concert 20.00 uur pauze om 20.50 uur einde concert 22.00 uur teksten en coördinatie deSingel druk Kopie Kopij JOHANN SEBASTIAN BACH Cantates . Missa "Dass Bach jemals routiniert gearbeitet hätte, dass er sich in seinen Arbeiten wiederholte, habe ich noch nie empfunden... Jede neue Kantate, jede neue Arie ist ein Abenteuer, ist eine aufregende Entdeckung für uns... Ich kenne keinen Komponisten, der die Skala von strengster Kontrapunktik bis zu expressivster Romantik immer wieder bis an die let zten Grenzen durchschreitet wie Bach." Nikolaus Harnoncourt, Die Kantaten - Bachs zentrales Werk in "Der musikalische Dialog" pag. 71 De cantate is een vocale compositie die begin zeventiende eeuw in Italië ontstond. Ze stamt in directe lijn af van het madrigaal en ontwikkelde zich enerzijds als kerkcantate verwant aan het oratorium en anderzijds als kamercantate quasi als miniatuur-opera. In Duitsland floreerde voornamelijk de kerkcantate; Heinrich Schütz met zijn Geistliche Konzerte en Dietrich Buxtehude zijn slechts twee van de eminente voorgangers van Johann Sebastian Bach in het genre. Bach zelf gebruikte de titel cantate niet. Zijn kerkcantates duidde hij aan met de term "concerto", bij vroegere werken sprak hij van "motetto", bij gelegenheid van "dialogus" of simpelweg van "Kirchenmusic". -
Jahr- Buch 2012/13
jahr- buch 2012/13 Hochschule FÜr MuSIK Freiburg Junge Musikerinnen und Musiker brauchen Freunde. Wussten sie, dass die Freiburger Musikhochschule mit jährlich über 400 Veranstaltungen der größte Konzertanbieter der Region ist? Profitieren sie: Werden Sie Mitglied der Fördergesellschaft! Sie erhalten kostenlos den monatlichen Veranstaltungskalender und profitieren von ermäßigten Konzertkarten. sie sind eingeladen. Wir informieren Sie über aktuelle Themen in der Musikhochschule und laden Sie zu exklusiven Veranstaltungen für Fördermitglieder ein. Werden sie Mitglied! www.mh-freiburg.de/foerdergesellschaft Tel. 0761 31915-43 (Rektorat) jahr- Mitgliedsbeitrag 40 Euro für Privatpersonen buch 100 Euro für Unternehmen und Institutionen 2012/13 sponsoren herzlich willkommen Volksbank Freiburg Konto Nr. 2 442 000, BLZ 680 900 00 IBAN: DE11 6809 0000 0002 4420 00 BIC: GENODE61FR1 Anz-Jahrbuch_165x240.indd 1 08.10.13 14:10 jahr- buch 2012/13 Inhalt Editorial … 006 Geburtstage Erklärung Musikhochschulen (RüdigeR Nolte, HaRtmut Höll, Regula Rapp) … 008 Klaus Hövelmann 75 (HaNS-JoacHim ScHmolSki) … 092 Sigrid Lehmann 75 (kaRSteN ScHöNiNg) … 093 Ingeborg Möller 75 (RegiNa kabiS) … 094 NACHRICHTEn Erika Vogl 80 (maNfRed klimaNSki) … 096 Neue Professoren … 012 Hannsdieter Wohlfarth 80 (HaNS-JoacHim ScHmolSki) … 097 Matthias Alteheld … 012 Helmut Meyer-Eggen 85 (HaNS-JoacHim ScHmolSki) … 098 Fabrice Millischer … 013 Alle Geburtstage … 099 Wim Van Hasselt … 014 Camille Savage-Kroll … 015 Verabschiedungen in den Ruhestand: Mirjam Nastasi (RüdigeR Nolte) -
Bach's Oratorios
Uri Golomb Bach’s Oratorios “Set aside fear, banish lamentation, / strike up a song full of joy and mirth!” These words, which appear near the beginning of Bach’s Christmas Oratorio, could well serve as a motto for the cycle of oratorios for Christmas (BWV 248), Easter Sunday (BWV 249), and Ascension Day (BWV 11) that Bach compiled in 1734/5. In expressive terms, these works stand at the opposite end of the spectrum from the Passions. Philipp Spitta (vol. II, p. 538) wrote of the St. Matthew Passion: “In a work planned to represent the most stupendous events, and engaged throughout with none but the saddest emotions, every possible contrast had to be made the utmost use of”. In the Oratorios, Bach faced a similar challenge from the opposite direction: injecting variety into a predominantly bright context, commenting on stories that did not generate the narrative and psychological drama that inspired the Passions’ profound expressiveness. The other challenge that Bach set for himself was to forge convincing sequences out of movements drawn from other works. This process of self-borrowing (usually referred to as “parody”), though common enough in the Baroque era, was viewed with suspicion by some of Bach’s admirers in the 19th and 20th centuries: stringing together movements drawn from other works seemed to them like a sign of creative weakness. Such reasoning, however, is based on the perception of the musical work as an indivisible and inviolable whole – a notion that Bach and his contemporaries would probably not have recognised, let alone accepted. The fact that the music for these liturgical works was drawn primarily from secular music was also quite within the spirit of the times: the union of secular and liturgical music was increasingly advocated in Bach’s lifetime by several prominent figures, such as Erdmann Neumeister and Johannes Mattheson.