Christmas Greeting and Blessing
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The Bach Experience
MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA. -
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. -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16 -
Classical Christmas
Classical Friday, Dec. 9 CHristmas 10:30am Stefan Sanders leads the BPO and Buffalo Philharmonic Chorus in this festival celebration of timeless musical treasures, including Bach’s Christmas Oratorio REPERTOIRE: and Handel’s Messiah . Rimsky-Korsakov: Suite from Christmas Eve Eric Whitacre: Winter, Naryan Padmanabha, sitar Respighi: L’Adorazione dei Magi from Trittico Botticelliano Bach: Weihnachtsoratorium, BWV 248 [Christmas Oratorio] Cantana IV: On New Year’s Day (The Feast of Circumcision) No. 36 Fallt mit Danken, fallt mit Loben (chorus) No. 38 Recitativ: Immanuel, o susses Wort ! (baritone and soprano) No. 39 Aria: Flost, mein Heiland, lost dein Namon (soprano and boy soprano) Cantata V: On the Sunday After New Year (King Herod) No. 53 Choral: Zwar ist solche Herzensstube Cantata VI: On the Feast of the Epiphany (The Adoration of Magi) No. 64 Choral: Nun said ihr wohl gerochen Emily Helenbrook, Brad Hutchings, Ayden Herried, Buffalo Philharmonic Chorus Intermission: Randol Bass: Festival Magnificat. Buffalo Philharmonic Chorus Arr. John Rutter: I saw Three Ships. Buffalo Philharmonic Chorus John Rutter: Mary’s Lullaby. Buffalo Philharmonic Chorus Adam/ John Rutter: O Holy Night. Buffalo Philharmonic Chorus Handel/ John Rutter: Joy to the World. Buffalo Philharmonic Chorus Tchaikovsky: Finale to Act 1 of The Nutcracker, Op. 71 6. Scena 7. Scena (Battle) 8. Scena 9. Waltz of the Snowflakes Women of the Buffalo Philharmonic Chorus Handel: Hallelujah Chorus from Messiah. Buffalo Philharmonic Chorus Nikolai Rimsky-Korsakov: “Christmas Eve” Russian Composer (1844-1908) Rimsky-Korsakov’s Opera Christmas Eve was completed in 1895. The four act libretto (text of the opera) by the composer is based on a short story by Nikolai Gogol from his collection titled “Evenings on a farm near Dikanka”, published in 1832. -
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. -
B Ach C Antatas G Ardiner
Johann Sebastian Bach 1685-1750 Cantatas Vol 26: Long Melford SDG121 COVER SDG121 CD 1 67:39 For Whit Sunday Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 Wer mich liebet, der wird mein Wort halten I BWV 59 Wer mich liebet, der wird mein Wort halten II BWV 74 O ewiges Feuer, o Ursprung der Liebe BWV 34 Lisa Larsson soprano, Nathalie Stutzmann alto Derek Lee Ragin alto, Christoph Genz tenor Panajotis Iconomou bass C CD 2 47:58 For Whit Monday M Erhöhtes Fleisch und Blut BWV 173 Also hat Gott die Welt geliebt BWV 68 Y Ich liebe den Höchsten von ganzem Gemüte BWV 174 K Lisa Larsson soprano, Nathalie Stutzmann alto Christoph Genz tenor, Panajotis Iconomou bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Holy Trinity, Long Melford, 11 & 12 June 2000 Soli Deo Gloria Volume 26 SDG 121 P 2006 Monteverdi Productions Ltd C 2006 Monteverdi Productions Ltd www.solideogloria.co.uk Edition by Reinhold Kubik, Breitkopf & Härtel Manufactured in Italy LC13772 8 43183 01212 1 26 SDG 121 Bach Cantatas Gardiner Bach Cantatas Gardiner CD 1 67:39 For Whit Sunday The Monteverdi Choir The English Flutes 1-7 18:31 Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 Baroque Soloists Marten Root Sopranos Rachel Beckett 8-12 11:38 Wer mich liebet, der wird mein Wort halten I BWV 59 Suzanne Flowers First Violins 13-20 20:34 Wer mich liebet, der wird mein Wort halten II BWV 74 Gillian Keith Kati Debretzeni Oboes Emma Preston-Dunlop Penelope Spencer Michael Niesemann 21-25 16:45 -
Christmas Oratorio
WASHINGTON BACH CONSORT Dana Marsh, Artistic Director Christmas Oratorio Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. You’ll CHRISTMAS ORATORIO enjoy the Washington Bach Consort as you’ve never Weihnachts-Oratorium, BWV 248 heard them before, but you’ll also gain revelations Johann Sebastian Bach (1685–1750) and insights into the music itself coming from our Dana Marsh, Artistic Director two resident Bach scholars, Michael Marissen and Daniel R. Melamed. Supported in part by grants Part I: The First Day of Christmas from the National Endowment for the Humanities Jauchzet, frohlocket, auf, preiset die Tage, BWV 248I and the J. Reilly Lewis Legacy Fund, Bach Friday, 12.25.20 at 8 p.m. YouTube & Facebook Interactions is a new digital concert experience offering the expressive heights of Bach’s musical Part II: The Second Day of Christmas language as well as the story behind its creation. Und es waren Hirten in derselben Gegend, BWV 248II The series features three renowned cantatas, Thursday, 1.7.21 at 8 p.m. on YouTube & Facebook Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm, Part III: The Third Day of Christmas der Heiden Heiland, BWV 61, followed by all six parts Herrscher des Himmels, erhöre das Lallen, BWV 248III of Bach’s beloved Christmas Oratorio, BWV 248. Thursday, 1.14.21 at 8 p.m. on YouTube & Facebook Each part will be presented on its intended day of liturgical observance, over the twelve days of Part IV: New Year’s Day Christmas to the Feast of the Epiphany (January 6). -
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. -
The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach
Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-15-2010 The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach Marva J. Watson Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Watson, Marva J., "The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach" (2010). Theses. Paper 157. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH by Marva Jean Watson B.M., Southern Illinois University, 1980 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2010 THESIS APPROVAL THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH By Marva Jean Watson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music History and Literature Approved by: Dr. Melissa Mackey, Chair Dr. Pamela Stover Dr. Douglas Worthen Graduate School Southern Illinois University Carbondale April 2, 2010 AN ABSTRACT OF THE THESIS OF MARVA JEAN WATSON, for the Master of Music degree in Music History and Literature, presented on 2 April 2010, at Southern Illinois University Carbondale. TITLE: THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH MAJOR PROFESSOR: Dr. -
The Bach Experience
MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, January 30, 2011 – 9:45A.M. The Bach Experience BWV 171: ‘Gott, wie dein Name, so ist auch dein Ruhm’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting BWV 171: ‘Gott, wie dein Name, so ist auch dein Ruhm’ - Composed and performed as early as January 1, 1729 for New Year or Feast of the Circumcision; first movement appears later in the Credo of the B Minor Mass: ‘Patrem omnipotentem’ - Scored for three trumpets, timpani, two oboes, and strings; solos for soprano, alto, tenor and bass - Central message is the name of Christ – the purity of Jesus’ name as a means of intercession, power and strength - The libretto is compiled and authored by Picander, drawing on Psalm 48:10 for the opening movement. - Duration: about 21 minutes Some helpful German words to know . Ruhm fame Wolken clouds Süsser sweet Trost comfort Ruh rest or peace Kreuze cross lauf laugh verfolget persecuted Heliand savior See the morning’s bulletin for a complete translation of Cantata 171. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an exact restatement of the opening section: ABA.