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Bach Cantatas Piano Transcriptions
Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR. -
Liturgical Drama in Bach's St. Matthew Passion
Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy. -
Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City. -
Document Cover Page
A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
Gesungene Aufklärung
Gesungene Aufklärung Untersuchungen zu nordwestdeutschen Gesangbuchreformen im späten 18. Jahrhundert Von der Carl von Ossietzky Universität Oldenburg – Fachbereich IV Human- und Gesellschaftswissenschaften – zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) genehmigte Dissertation von Barbara Stroeve geboren am 4. Oktober 1971 in Walsrode Referent: Prof. Dr. Ernst Hinrichs Korreferent: Prof. Dr. Peter Schleuning Tag der Disputation: 15.12.2005 Vorwort Der Anstoß zu diesem Thema ging von meiner Arbeit zum Ersten Staatsexamen aus, in der ich mich mit dem Oldenburgischen Gesangbuch während der Epoche der Auf- klärung beschäftigt habe. Professor Dr. Ernst Hinrichs hat mich ermuntert, meinen Forschungsansatz in einer Dissertation zu vertiefen. Mit großer Aufmerksamkeit und Sachkenntnis sowie konstruktiv-kritischen Anregungen betreute Ernst Hinrichs meine Promotion. Ihm gilt mein besonderer Dank. Ich danke Prof. Dr. Peter Schleuning für die Bereitschaft, mein Vorhaben zu un- terstützen und deren musiktheoretische und musikhistorische Anteile mit großer Sorgfalt zu prüfen. Mein herzlicher Dank gilt Prof. Dr. Hermann Kurzke, der meine Arbeit geduldig und mit steter Bereitschaft zum Gespräch gefördert hat. Manche Hilfe erfuhr ich durch Dr. Peter Albrecht, in Form von wertvollen Hinweisen und kritischen Denkanstößen. Während der Beschäftigung mit den Gesangbüchern der Aufklärung waren zahlreiche Gespräche mit den Stipendiaten des Graduiertenkollegs „Geistliches Lied und Kirchenlied interdisziplinär“ unschätzbar wichtig. Stellvertretend für einen inten- siven, inhaltlichen Austausch seien Dr. Andrea Neuhaus und Dr. Konstanze Grutschnig-Kieser genannt. Dem Evangelischen Studienwerk Villigst und der Deutschen Forschungsge- meinschaft danke ich für ihre finanzielle Unterstützung und Förderung während des Entstehungszeitraums dieser Arbeit. Ich widme diese Arbeit meinen Eltern, die dieses Vorhaben über Jahre bereit- willig unterstützt haben. -
Generalbaßlehre of 1738” by Thomas Braatz © 2012
The Problematical Origins of the “Generalbaßlehre of 1738” by Thomas Braatz © 2012 Near the end of 2011 a new volume of the NBA was released by Bärenreiter. It is called a supplement and includes notes and studies on thorough-bass, composition and counterpoint along with a section of Bach’s sketches and drafts and finally in the appendix the more recently discovered aria, BWV 1127. In addition to the well- researched and documented rules on thorough-bass found in the Anna Magdalena Bach’s notebooks, there is a presentation and critical discussion of the recently discovered (1999) counterpoint studies in the form of an exchange between Wilhelm Friedemann Bach and his father, all in autograph documents from the period 1736 to1739 when W. F. Bach was an organist in Dresden. Of great interest is the analysis and discussion of the Precepts and Principles for Playing the Thorough-Bass along with the complete text and musical examples. Below I will present the original German (Appendix 1) along with my English translation (Appendix 2) of the pertinent sections from the NBA editor’s introduction and the critical report covering this document. From this the reader will be able ascertain the spurious1 nature of its origin and claims of authenticity. The Precepts and Principles for Playing Four-Part Thorough-Bass or Accompaniment, or more commonly referred to in its short form as the “Generalbaßlehre of 1738”, has attained a false aura of authenticity since the appearance of Philipp Spitta’s monumental Bach biography in which Spitta printed the entire text of this document that he also analyzed and discussed in greater detail in a music journal in 1882.2 Spitta was the first Bach scholar to recognize the connection between this document and certain paragraphs contained in a treatise by Friedrich Erhard Niedt. -
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. -
Risen Savior Lutheran Church
Risen Savior Lutheran 2018 Church Pastor Art in the Lord’s House Key Our last stained-glass windows and additional wood carvings perhaps will be coming soon… Events The Lutheran Reformation did not simply destroy what came before it. The Confessions make it clear that we retain and preserve what we can according to the Gospel, as in these examples, which our congregations and Synod are still bound: Oct. 7 ➔ “We keep traditional liturgical forms, such as the order of the lessons, prayers, Oktoberfest vestments, etc.” (Apology XXIV). ➔ “Those ancient customs should be kept which can be kept without sin or without great Oct. 13 disadvantage. This is what we teach….We gladly keep the old traditions set up in the Highway church because they are useful and promote tranquility …the children chant the Psalms in order to learn.” (Apology XV). Clean-up ➔ “The [Service] is retained among us and is celebrated with the greatest reverence. Almost all the customary ceremonies are also retained.” (Augsburg Confession XXIV) Oct. 15 In many cases this applied to the visual arts as well. While Great Britain and Switzerland Blood Drive bear the scars of Reformed iconoclasm, many churches in Lutheran Germany still display the beauty of medieval Christianity. Art is like worship. In a practical, utilitarian world it seems rather useless and perhaps Oct. 28 even foolish, even a waste of money. Art is just pretty stuff, the things we hang up in our Festival of the homes to decorate the plain wall. It has meaning only so long as we choose it to and it is Reformation something we discard when we are over it or when our interests or tastes change. -
The Keyboard Music of Wilhelm Friedemann Bach Updates and Corrections
The Keyboard Music of Wilhelm Friedemann Bach Updates and Corrections Chapter 1 “But any biography of these composers must remain incomplete in ways that is not the case for musicians whose inner life, emotional as well as musical, is better documented . .” (p. 5). Friedemann’s inner life has nevertheless been reconstructed fictionally in the novels, films, and operas mentioned on pages 12–13. To these must be added Lauren Belfer’s 2016 novel And After the Fire, which, although continuing the tradition begun by Brachvogel of making Friedemann a lover of certain wealthy young women, in other respects paints plausible pictures of both the aging composer and his youthful pupil Sara Levy. “One long-standing enigma . his fourth cousin” (p. 11) The exact relationship of Friedemann to J. C. Bach of Halle is less certain and probably more remote than is indicated here. The “Halle Clavier Bach” was descended from Lips (Philippus) Bach, who might have been a brother or son of Veit Bach (Friedemann’s great-great-great-grandfather). All that can be said assuredly is that the two probably were distantly related, with one or more common ancestors, but none within five generations as suggested here. J. C. Bach of Halle belonged to the same Meiningen branch of the family that also produced the composer Johann Ludwig (his uncle) and the painters Gottlieb Friedrich and Samuel Anton Bach (his cousins). Chapter 2 “I do not give instruction” (see p. 292n. 27) The claim that Friedemann did not teach during his Berlin years is based not only on Friedemann’s own declaration but on a 1779 letter of Kirnberger to Forkel (in Bitter, 2:323: “auch Lection geben mag er nicht”). -
A Walk with Bach a Little Over 327 Years Ago, a Baby Was Born Into a Family of Eight Children in the Small Village of Eisenach, Germany
A Walk With Bach A little over 327 years ago, a baby was born into a family of eight children in the small village of Eisenach, Germany. Although his parents were not wealthy, he was born into a very prestigious extended family of musicians. Even before he was born, anyone ZKRZDVDFFRPSOLVKHGLQPXVLFZDVFDOOHGD³%DFK´/LWWOHGLG anyone know, later, the work of all other Bachs would pale in comparison to the musical achievements of this baby. His name was Johann Sebastian Bach. Introduction F rom Toccata and F ugue in D minor, BWV 565 When Johann was 9 years old, his mother passed away and, one year later, his father died, leaving Johann an orphan. He was sent to live with his older brother, Christoph, in North Germany. Christoph was responsible for teaching Johann to SOD\NH\ERDUGLQVWUXPHQWVDQG-RKDQQVHFUHWO\VWXGLHGKLVEURWKHU¶VPXVLFDOVFRUHVWROHDUQ about composition. Due to his fine singing voice, at the age of 15 Johann received a scholarship to attend the SUHVWLJLRXV6W0LFKDHO¶V6FKRRO,WZDVWKHUHWKDWhe received a formal choral education and was introduced to both playing and repairing church organs. Chorale F rom Oratorio BWV 248 Early in his career, Johann was hired as organist and music director in the court of Duke Wilhelm of Weimar. Later he worked for Prince Leopold of Cöthen. At each court, Johann composed, performed and conducted music to entertain the nobles. He had the greDWIRUWXQHWRZRUNZLWKVRPHRI*HUPDQ\¶VILQHVWPXVLFLDQVDQG wrote chamber music for them. Bourree F rom Cello Suite #3 in C Major, BWV 1009 In 1723, Johann was hired as music director and organist at St. Thomas Church in Leipzig. -
Kirchenlieder Im Bass-Schlüssel
Kirchenlieder im Bass-Schlüssel Passion und Ostern Inhalt Einführung 3 Lieder Passion EG-Nr. Titel 79 Wir danken dir, Herr Jesu Christ, dass du für uns gestorben bist 4 80 O Traurigkeit, o Herzeleid 4 81 Herzliebster Jesu 4 85 O Haupt voll Blut und Wunden 5 Ostern 99 Christ ist erstanden 6 100 Wir wollen alle fröhlich sein 7 103 Gelobt sei Gott im höchsten Thron 7 105 Erstanden ist der heilig Christ 7 106 Erschienen ist der herrlich Tag 8 107 Wir danken dir, Herr Jesu Christ 8 110 Die ganze Welt, Herr Jesu Christ 8 111 Frühmorgens, da die Sonn aufgeht 8 112 Auf, auf, mein Herz mit Freuden 9 115 Jesus lebt, mit ihm auch ich 9 2 Einführung Tiefe Instrumente sind wichtig für das Fundament der Musik, deswegen übernehmen sie eher sel- ten die Melodie. Dabei möchten auch Bassist*innen gerne einmal die Hauptstimme spielen. Besonders in den Zeiten, in denen das mehrstimmige Spielen eingeschränkt und das Gottesdienst- und Kurrendeblasen nur in Kleinstbesetzung möglich ist, kann die Melodie solistisch von einem tie- fen Instrument oder vom tiefen Register übernommen werden. Bassist*innen spielen in der Regel im Bass-Schlüssel. Deshalb hat Landesposaunenwart Frank Vo- gel bekannte Kirchenlieder zu Passion und Ostern aus dem Evangelischen Gesangbuch (EG) in den Bass-Schlüssel übertragen. Gerne stellen wir Ihnen dieses Heft zur Verfügung, das nicht nur von den tiefen Stimmen des Po- saunenchores, sondern von allen anderen Instrumenten der tiefen Lage genutzt werden. Für das gemeinsame Musizieren mit Sänger*innen und anderen Instrumentalist*innen verweisen wir auf die TÖNE 6 "Kirchenlieder zu Passion und Ostern".