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An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger
An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger Abbreviations NBA = Neue Bach Ausgabe (collected edition of Bach works) BC = Bach Compendium by Hans-Joachim Schulze and Christoph Wolff. 4 vols. (Frankfurt: Peters, 1989). Liturgical Occasion (Other Bach cantatas for that occasion listed in chronological order) *Gospel Reading of the Day (in the Lutheran liturgy, before the cantata; see below) *Epistle of the Day (in the Lutheran liturgy, earlier than the Gospel Reading; see below) FP = First Performance Note: Some of the following material is taken from Melvin Unger’s overview of Bach’s sacred cantatas, prepared for Cambridge University Press’s Bach Encyclopedia. Copyright Melvin Unger. That overview (which is available here with the annotated Bach cantata scores) includes a bibliography. Additional, online sources include the Bach cantatas website at https://www.bach-cantatas.com/ and Julian Mincham’s website at http://www.jsbachcantatas.com/. The German Cantata Before Bach In Germany, Lutheran composers adapted the genre that had originated in Italy as a secular work intended for aristocratic chamber settings. Defined loosely as a work for one or more voices with independent instrumental accompaniment, usually in discrete sections, and employing the ‘theatrical’ style of opera, the Italian cantata it was originally modest in scope—usually comprising no more than a couple of recitative-aria pairs, with an accompaniment of basso continuo. By the 1700s, however, it had begun to include other instruments, and had grown to include multiple, contrasting movements. Italian composers occasionally wrote sacred cantatas, though not for liturgical use. In Germany, however, Lutheran composers adapted the genre for use in the main weekly service, where it subsumed musical elements already present: the concerted motet and the chorale. -
Bach Christmas Oratorio Prog Notes
Johann Sebastian Bach Christmas Oratorio Programme Notes Johann Sebastian Bach’s Christmas Oratorio was composed in 1734. The title page of the printed libretto, prepared for the congregation, notes “Oratorio performed over the holy festival of Christmas in the two chief churches in Leipzig.” The oratorio was divided into six parts, each part to be performed at one of the six services held during the Lutheran celebration of the Twelve Nights of Christmas. Parts I, II, IV and VI were each performed twice, at St. Thomas and St. Nicholas in alternate morning and afternoon services. Parts III and V, written for days of lesser significance in the festival, were performed only once at St. Nicholas. The music would have served as the “principal music” for the day, replacing the cantata that would otherwise have been performed. The structure of the Christmas Oratorio is similar to that of Bach’s Passions: Bach presents a dramatic rendering of a biblical text, largely in the form of secco recitative (recitative with simple continuo accompaniment) sung by an Evangelist, and adds to it comments and reflections of both an individual and congregational nature, in the form of arias, choruses, and chorales. The biblical text in question is the story of the birth of Jesus through to the arrival of the three Wise Men, drawn from the Gospels according to Luke and Matthew. The narrative is by its very nature less dramatic than that of the Passions, so Bach introduces a number of arioso passages: accompanied recitatives in which the spectator enters the story. The bass soloist, for example, speaks to the shepherds, and the alto to Herod and to the Wise Men, outside the narrative proper, yet intimately involved with it. -
Anmerkungen Einleitung
),- 7dc[hakd][d ;_db[_jkd] 1 Erdmann Neumeister hatte in Leipzig Poetik-Vorlesungen gehalten, die er Hu- nold zur Verfügung stellte, da er sie als Pfarrer nicht selbst publizieren wollte. Hunold bringt diese Poetik unter seinem Pseudonym Menantes 1707 erstmals heraus. Menan- tes: Die Allerneueste Art, zur Reinen und Galanten Poesie zu gelangen. Allen Edlen und die- ser Wissenschafft geneigten Gemühtern, zum vollkommenen Unterricht, mit überaus deutlichen Regeln und angenehmen Exempeln ans Licht gestellet. Hamburg 1728/1707. Siehe das ge- samte Kapitel XIX. Von der Opera. S. 394–414, hier S. 412. Zur Würdigung und Analy- se dieser Poetik siehe Viswanathan, Ute-Maria Suessmuth: Die Poetik Erdmann Neu- meisters und ihre Beziehung zur barocken und galanten Dichtungslehre. University of Pittsburgh 1989, S. 86f. Im Folgenden werden die Quellentexte bei der Erstzitation aus- führlich mit bibliographischen Angaben versehen, danach gibt es Kurztitel. 2 Neumeister hat das Libretto von Thomas Corneille zur Oper Bellerophon Paris 1679 übersetzt. Diese Übersetzung haben Hunold und Barthold Feind rezipiert, die beide zwischen 1702 und 1706 in Hamburg in derselben Wohnung lebten. Zu dieser Zeit war Hunold im Besitz von Neumeisters Manuskript. Vgl. Viswanathan, 1989, S. 92f und FN 108, S. 144. Feind arbeitete Bellerophon um zu einer Huldigungsoper an- lässlich der Hochzeit des preußischen Königs Friedrichs I. mit der Mecklenburgischen Prinzessin Sophie Louise. D-Hs 124 in MS 639/3:7. Vgl. Marx, Hans Joachim; Schrö- der, Dorothea: Die Hamburger Gänsemarkt-Oper. Katalog der Textbücher (1678– 1748). Laaber 1995, S. 80. 3 Vgl. Martens, Wolfgang: Die Botschaft der Tugend. Die Aufklärung im Spiegel der deutschen Moralischen Wochenschriften. -
Johann Kuhnau Complete Sacred Works V Opella Musica · Camerata Lipsiensis Gregor Meyer
Johann Kuhnau Complete Sacred Works V Opella Musica · camerata lipsiensis Gregor Meyer cpo 555 260_2 Booklettest.indd 1 04.11.2019 08:46:14 Gregor Meyer (© Jens Gerber) cpo 555 260_2 Booklettest.indd 2 04.11.2019 08:46:14 Johann Kuhnau (1660-1722) Die Geistlichen Werke Vol. 5 Complete Sacred Works Vol. 5 Gott sei mir gnädig nach deiner Güte 11'26 [SATB, 2 Vl, 2 Va, Fg, Bc] 1 Gott, sei mir gnädig nach deiner Güte 2'12 2 Wasche mich wohl von meiner Missetat 1'19 3 Denn ich erkenne meine Missetat 0'22 4 An dir allein hab ich gesündiget 2'08 5 Siehe, ich bin aus sündlichem Samen gezeuget 2'40 6 Lass mich hören Freud und Wonne 2'48 Ich habe Lust abzuscheiden [SATB, Ob, Tr, 2 Vl, Va, Fg, Bc] 15'49 7 Ich habe Lust abzuscheiden 3'25 8 Wie drücket mich des kranken Leibes Bürde! 2'00 9 Es ist genug 0'44 10 Gesetzt, ich bin kein alter Simeon 0'48 11 Es ist genug 1'59 cpo 555 260_2 Booklettest.indd 3 04.11.2019 08:46:15 12 Selig sind die Toten 0'49 13 Wie lieblich klingt ihr Sterbe-Glocken 4'04 14 Mit Fried und Freud ich fahr dahin 2'03 Erschrick, mein Herz, vor dir [SATB, 2 Vl, Va, Fg, Bc] 16'26 15 Sonata 1'01 16 Erschrick, mein Herz, vor dir 1'45 17 Ach, ich bin unrein unrein, krank und matt 3'03 18 Doch g’nug, dass mich die Krankheit nicht in Verzweiflung stürzt 1'43 19 Lieber Meister, hilf mir Armen 2'45 20 Gottlob! 1'16 21 Schnöder Undank 1'31 22 Ich aber kehre mit dem Samariter um 1'32 23 Gott, mein Arzt, mein wahres Leben 1'52 Weicht, ihr Sorgen, aus dem Herzen [S, 2 Vl, Va, Bc] 12'44 24 Weicht, ihr Sorgen, aus dem Herzen 2'43 25 Ich bleib -
74. Greifswalder Bachwoche – Herzlich Willkommen! FR
Vorwort „Bachtage digital“? – Das hätten wir alle uns bis vor kurzem nicht träumen lassen. Die Greifswalder Bachwoche lebt von der Gemeinschaft, der Bachwochenfamilie, den Mitsingeprojekten... und der gemeinsamen Begeisterung für die Musik von Johann Sebastian Bach. MO Nun ist alles anders, gleichwohl: Wir lassen uns nicht unterkriegen und sagen mit Psalm 73 „Dennoch...“! Das geplante Programm ›paradiesisch‹ wird auf das kommende Jahr verschoben. In diesem Jahr stellen wir stattdessen am 13. und 14. Juni ein verkürztes Programm mit digitalen Angeboten ins Netz, um Sie an der Musik Bachs und den DI gewohnten Formaten teilhaben zu lassen – von der Clavichordmusik bis zu ›Bach zur Nacht‹, von Orgel- und Kammermusik bis zum Festgottesdienst am Sonntagmorgen. Die Angebote der 74. Bachwoche werden vorproduziert und können dann auf der Website der Greifswalder Bachwoche www.greifswalder-bachwoche.de am 13. Juni ab MI 14 Uhr verfolgt werden. Lediglich der Bachwochengottesdienst am Sonntag, 14. Juni, 10 Uhr, wird auch live zu erleben sein. Unter Corona-Bedingungen dürfen bis zu 150 Personen im Dom dem Gottesdienst folgen. Weitere 150 Besucherinnen und Besucher können den DO Gottesdienst per Videoübertragung auf der Domwiese erleben. Und für alle auswärtigen Bachwochen-Freunde gibt es eine vorproduzierte Fassung des Gottesdienstes im Netz. Auf diese Weise wird die geistliche Morgenmusik auch zum Herzstück der 74. Greifswalder Bachwoche – herzlich willkommen! FR LKMD Prof. Frank Dittmer Prof. Dr. Matthias Schneider LKMD Hans-Jürgen Wulf SA SO 3 Veranstalter Trägerin der Greifswalder Bachwoche ist die Evangelisch- MO Lutherische Kirche in Norddeutschland in Kooperation mit der Universität Greifswald sowie im Zusammenwirken mit dem Land Mecklenburg-Vorpommern, der Universitäts- und Hansestadt DI Greifswald und dem Pommerschen Evangelischen Kirchenkreis als Unterstützer. -
May 2 Order of Worship
FIRST BAPTIST CHURCH Historic | Liturgical | Vibrant FIFTH SUNDAY OF EASTERTIDE May 2, 2021 at 11:00 am WE GATHER TO PRAISE GOD Music Notes CHIMING OF THE HOUR Much of the music used in today’s worship service will be excerpts from “Der WELCOME Rev. Katie Callaway & Rev. John Callaway Himmel lacht! Die Erde jubilieret” (Heaven Laughs! Earth Exults) by INVOCATION Johann Sebastian Bach. This work is Bach’s 31st PRELUDE - “Sonata” from Cantata No. 31 by Johann Sebastian Bach church cantata and was North Carolina Baroque Orchestra written for the first day of the Easter season. It was first performed in CALL TO WORSHIP - Psalm 22:25-31 Ellen Davis, Lay Reader Weimar, Germany, on April 21, 1715 and later HYMN - “Christ Is Risen, Shout Hosanna” Tune: HYMN TO JOY reworked for performances in Leipzig. The work is scored for five Christ is risen! Shout hosanna! part choir, large Celebrate this day of days! orchestra, and soprano, tenor, and bass soloists. Christ is risen! Hush in wonder: All creation is amazed. In the desert all surrounding, Guest Musicians See, a spreading tree has grown. Healing leaves of grace abounding Today we welcome the Bring a taste of love unknown. choir of Wake Forest University from Winston Salem, NC. They are Christ is risen! Raise your spirits under the direction of Dr. From the caverns of despair. Christopher Gilliam and Walk with gladness in the morning. accompanied by the North See what love can do and dare. Carolina Baroque Orchestra. The choral Drink the wine of resurrection, program at Wake Not a servant, but a friend. -
I Know My Faith Is Founded” (Lutheran Service Book #587)
Proper 22/20th Sunday after Pentecost (Series C) “I Know My Faith Is Founded” (Lutheran Service Book #587) After Jesus says some words about stumbling and sinning and the need to forgive someone who sins and is repentant – all recorded at the beginning of Luke 17, his followers say “Increase our faith!” (Luke 17:5). The exclamation point is right there in the NRSV, so these words are a command, or an urgent plea. The disciples say them in response to the words about stumbling and sinning, apparently understanding that they are not strong enough to resist opportunities to stumble or temptations to sin. Erdmann Neumeister, the late 17th and early 18th century poet, puts all that in the person of Satan at the beginning of stanza two of his chorale, “I Know My Faith Is Founded.” But before we get there, we must linger a bit with the words of stanza one. Here the singer makes a bold statement of faith, sounding like Peter in some of his rash moments recounted in the Gospels. “I know . unmoved I stand . my faith shall rest secure.” These are bold words that we sing. Then stanza two begins, and things shift quickly. Increase my faith, dear Savior, for Satan seeks by night and day to rob me of this treasure and take my hope of bliss away. Neumeister puts into Satan, who Luther named “the ancient foe,” all the things that trouble our faith. With all that we encounter, whether it’s the temptation to trust in our own reason and strength, or the evil we see and hear in our world, we know we must echo the Lukan disciples and cry “increase my faith!” This week, in the news, we saw and heard about stabbings at a mall in Minnesota with nine people injured, and about bombs in New Jersey and New York injuring 29, and about a cease fire unravelling in Syria. -
Yale Collection of German Baroque Literature Author Index 1
Yale Collection of German Baroque Literature Author Index Abel, Caspar. Abele, Matthias, d.1677. Diarium Belli Hispanici, oder Vollstindiges Tag-Register Vivat oder so genandte künstliche Unordnung. des jetzigen Spanischen Krieges wie er Von 1701. Nürnberg, Bey Michael und Johann Friederich Endtern. 1670 zur Recommendation Eines Auff den blank Januarii. 1707 Item No. 659a; [I.-V. und letzter Theil] Worinnen 40.[i.e. 160] Item No. 1698b; bis 1707. ... geführet worden samt... dem was wunderseltzame Geschichte...meist aus eigener Erfahrung, sich mit den Ungern und Sevennesern zugetragen...; zusammen geschrieben...durch Matthiam Abele, von und zu angestellten Actus Oratorii, ... heraus gegeben Von Casp. Lilienberg...; [75]; 4v. in 2. fronts. (v.1,2) 13-14 cm.; Title and Abeln ... Halberstadt Gedruckt bey Joh. Erasmus Hynitzsch imprint of 3,5 vary; Vol.1 has title: Künstliche Unordnung; Königl. Preuß. Hof-Buchdr; [12]p., 34 cm. Signatures: [A] - das ist, Wunder-seltsame, niemals in offentlichen Druck C2. gekommene...Begebenheiten...Zum andernmal aufgelegt. Reel: 603 [n.p.]. Reel: 160 Abel, Caspar, 1676-1763. Caspar Abels auserlesene Satirische Gedichte, worinnen Abraham à Sancta Clara, 1644?-1709. viele jetzo im Schwange gehende Laster, auf eine zwar freye, Abrahamische Lauber-Hütt. und schertzhaffte doch vernünfftige Art gestrafet werden; und Wien und Mürnberg, Verlegts J.P. Krauss. 1723-38 Theils ihrer Vortrefligkeit halber aus dem berühmten Boileau Item No. 1131; Ein Tisch mit Speisen in der Mitt...Denen und Horatio übersetzet Theils auch nach deren Vorbilde Juden zum Trutz, denen Christen zum Nutz an- und verfertiget sind. aufgerichtet, wie auch mit mit vielen auserlesenen so wohl Quedlinburg und Aschersleben, verlegts Gottlob Ernst biblischen als andern sinnreichen Concepten, Geschichten und Struntze. -
Bach and the Rationalist Philosophy of Wolff, Leibniz and Spinoza,” 60-71
Chapter 1 On the Musically Theological in Bach’s Cantatas From informal Internet discussion groups to specialized aca demic conferences and publications, an ongoing debate has raged on whether J. S. Bach ought to be considered a purely artistic or also a religious figure.^ A recently formed but now disbanded group of scholars, the Internationale Arbeitsgemeinschaft fiir theologische Bachforschung, made up mostly of German theologians, has made significant contributions toward understanding the religious con texts of Bach’s liturgical music.^ These writers have not entirely captured the attention or respect of the wider world of Bach 1. For the academic side, the most influential has been Friedrich Blume, “Umrisse eines neuen Bach-Bildes,” Musica 16 (1962): 169-176, translated as “Outlines of a New Picture of Bach,” Music and Letters 44 (1963): 214-227. The most impor tant responses include Alfred Durr, “Zum Wandel des Bach-Bildes: Zu Friedrich Blumes Mainzer Vortrag,” Musik und Kirche 32 (1962): 145-152; see also Friedrich Blume, “Antwort von Friedrich Blume,” Musik und Kirche 32 (1962): 153-156; Friedrich Smend, “Was bleibt? Zu Friedrich Blumes Bach-Bild,” DerKirchenmusiker 13 (1962): 178-188; and Gerhard Herz, “Toward a New Image of Bach,” Bach 1, no. 4 (1970): 9-27, and Bach 2, no. 1 (1971): 7-28 (reprinted in Essays on J. S. Bach [Ann Arbor: UMI Reseach Press, 1985], 149-184). 2. For a convenient list of the group’s main publications, see Daniel R. Melamed and Michael Marissen, An Introduction to Bach Studies (New York: Oxford University Press, 1998), 15. For a full bibliography to 1996, see Renate Steiger, ed., Theologische Bachforschung heute: Dokumentation und Bibliographie der Intemationalen Arbeitsgemeinschaft fiir theologische Bachforschung 1976-1996 (Glienicke and Berlin: Galda and Walch, 1998), 353-445. -
Introduction
INTRODUCTION “Works for special occasions” is a broad category that anniversaries in office of Dr. Heinrich Hoeck and Syndi- we have defined for Carl Philipp Emanuel Bach rather cus Johann Klefeker, H 824c and 824d, respectively, were narrowly as a repertoire of specially commissioned, large- intended for public performances, but these lost works are scale works for voices and orchestra. The extant works discussed with the Einführungsmusiken in CPEB:CW, include a birthday cantata, Dank-Hymne der Freundschaft, V/3. The funeral music which Bach provided on occasion H 824e (published in CPEB:CW, V/5.1); a chorus, Spiega, (for example, “Gott, dem ich lebe, des ich bin,” Wq 225) is Ammonia fortunata, Wq 216 (H 829), written for the visit treated in CPEB:CW, V/6, since none of the works sur- of the Swedish Crown Prince in 1770; and a cantata, Musik vive with complete music, rather only single choruses. am Dankfeste wegen des fertigen Michaelisturms, H 823, cel- ebrating the completion of the St. Michaelis tower in 1786. , Wq/H To this could be added the various cantatas that C. P. E. Ich bin vergnügt mit meinem Stande deest Bach wrote while attending the university at Frankfurt an It is regrettable that nearly all of Bach’s early vocal music der Oder: several printed librettos survive, but the music is now lost. There was no trace whatsoever for any vocal for these works is lost (see discussion below). Although we works from the Leipzig years until the fortunate discovery have no record for any choral music before the Magnificat, by Peter Wollny in the fall of 2009 of the autograph com- Wq 215 (first completed in 1749, according to NV 1790), it posing score of an unknown church cantata by the young is our good fortune that a solo cantata written in Leipzig C. -
Christmas Oratorio
Reflections on Bach’s “Christmas Oratorio” by John Harbison Composer John Harbison, whose ties to Boston’s cultural and educational communities are longstanding, celebrates his 80th birthday on December 20, 2018. To mark this birthday, the BSO will perform his Symphony No. 2 on January 10, 11, and 12 at Symphony Hall, and the Boston Symphony Chamber Players perform music of Harbison and J.S. Bach on Sunday afternoon, January 13, at Jordan Hall. The author of a new book entitled “What Do We Make of Bach?–Portraits, Essays, Notes,” Mr. Harbison here offers thoughts on Bach’s “Christmas Oratorio.” Andris Nelsons’ 2018 performances of Bach’s Christmas Oratorio are the Boston Symphony’s first since 1950, when Charles Munch was the orchestra’s music director. Munch may have been the last BSO conductor for whom Bach’s music remained a natural and substantial part of any season. In the 1950s the influence of Historically Informed Practice (HIP) was beginning to be felt. Large orchestras and their conductors began to draw away from 18th-century repertoire, feeling themselves too large, too unschooled in stylistic issues. For Charles Munch, Bach was life-blood. I remember hearing his generous, spacious performance of Cantata 4, his monumental reading of the double-chorus, single-movement Cantata 50. Arriving at Tanglewood as a Fellow in 1958, opening night in the Theatre-Concert Hall, there was Munch’s own transcription for string orchestra of Bach’s complete Art of Fugue! This was a weird and glorious experience, a two-hour journey through Bach’s fugue cycle that seemed a stream of sublime, often very unusual harmony, seldom articulated as to line or sectional contrast. -
10.-Baroque-J.S.Bach.Pdf
The HIGH BAROQUE:! J. S. BACH Johann Sebastian Bach, 1685-1750 The HIGH BAROQUE:! J. S. BACH J. S. BACH was best-known during his lifetime as a keyboard virtuoso Born into family of musicians. Lives a provincial life, never traveling out of Germany The youngest of eight children, Bach was educated by his brother, Johann Christoph. The HIGH BAROQUE:! J. S. BACH CAREER Arnstadt 1707 Organist Weimar 1708-1717 Organist, Konzertmeister Cöthen 1717-1723 Kapellmeister Leipzig 1723- Kapellmeister, Teacher The HIGH BAROQUE:! J. S. BACH Bach wrote in almost ALL the genres of music in the late Baroque EXCEPT the most important of that era, OPERA. Bach tended to write in sets of compositions, systematically pursuing the invention of an idea, elaborating it through every possible permutation. The HIGH BAROQUE:! J. S. BACH Bach’s compositions spring from his jobs: Many secular compositions for his court positions at WEIMAR and CöTHEN, and religious music for his later position at LEIPZIG. As a virtuoso keyboardist, Bach writes keyboard music through out his life. The HIGH BAROQUE:! J. S. BACH 1707 Bach obtains his first position of organist at the Arnstadt Neukirche. Obtains permission to travel Lübeck to hear the organist Buxtehude… and stays away for 4 months! The HIGH BAROQUE:! J. S. BACH 1708-1717 (Weimar) Position at court of Weimar, first as organist, and then as Konzertmeister in 1714. During his Weimar years Bach gets to know G. P. TELEMANN, who is working nearby in Eisenach. Bach marries Maria Barbara who has his first children. The HIGH BAROQUE:! J.