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This season the series is completing a five-year survey of Bach's more than 200 surviving sacred cantatas, but Mr. Wachner also turned attention here to the secular cantatas, far fewer in number.

Mr. Suzuki presented the first three cantatas and the sixth.

Here is a representative example from March, featuring Bach's Cantatas Nos.

Bach's cantatas, exalted as some of them seem, were utilitarian creations.

Why are you digging up this horrible stuff in the church cantatas?

This included a new and remarkable feature, a "Ring of Cantatas": 172015 church concerts or Lutheran services with world-class interpreters — John Eliot Gardiner, Masaaki Suzuki, Ton Koopman and Hans-Christoph Rademann — presenting 21727 cantatas over 21968 hours.

"We can have a mortgage-burning party while we rehearse Bach cantatas," he said.

Early hits: Numerous cantatas, both sacred and secular, and the operas "Agrippina" (1709) and "Rinaldo" (1711).

PRINCETON "Bach Cantatas," the Princeton Festival's chorus and baroque orchestra perform four works by J. S. Bach.

David Timm conducted the university's choir and Baroque ensemble in three cantatas, over and above the 33.

Bach's "Christmas Oratorio" is an enormous work, six cantatas strung together in a sequence of delicacy and wonder.

For the first few years, he pursued that project with ferocious energy, composing cantatas on a weekly basis.

It released a CD of his solo cantatas, "Soli Deo Gloria," and has performed several programs of his music.

Naturally, the music is Bach: two cantatas, including "Ein feste Burg ist unser Gott," and the Mass in G Major.

I love going to Bach Vespers at Holy Trinity by Lincoln Center and listening to their services of Bach cantatas.

In 1720, Bach was under consideration to become the organist at Neumeister's church, and five of his cantatas set Neumeister texts.

PRINCETON "Bach Cantata Fest," Dryden Ensemble concert with baritone William Sharp in Bach Cantatas 39 and 56 and selected Bach arias. Jan.

That is the case with Bach's sacred cantatas, the focus of this year's Bachfest Leipzig, which ran from June 213 through 212.

Over time, Lutheranism came to exert great influence over German music, particularly on Johann Sebastian Bach, whose cantatas and passions follow Lutheran texts.

PRINCETON "Bach Cantata Fest," a Dryden Ensemble concert with baritone William Sharp in Bach Cantatas 82 and 158 and selected Bach arias. Jan.

The Crossing, led with unflappable poise by its director, Donald Nally, performed the Buxtehude cantatas accompanied by the pliant period-instrument ensemble Quicksilver.

Mr. Maul drew Peter Wollny, the director of the archive, into the project, and the three agreed to nominate Bach's 30 best cantatas.

The most troubling of the cantatas is "Schauet doch und sehet" ("Behold and see"), which Bach composed during his first year in Leipzig.

The free Bach concerts, about 60 to 90 minutes long, typically consist of an organ prelude, two or three sacred cantatas and some incidentals.

In 1680, the Baroque composer and organist Dietrich Buxtehude wrote "Membra Jesu Nostri," a cycle of seven cantatas reflecting on the body of Christ.

ANTHONY TOMMASINI 'LE MARTEAU SANS MAÎTRE' In "Pierrot Lunaire," Schoenberg pushed the voice to new extremes, in which Mr. Boulez reveled in his great cantatas.

With a book every year—57 in all, each permeated by "Night"—with lectures, articles, even cantatas, he rammed the subject of the Holocaust home.

Bach's "Christmas Oratorio" consists of six cantatas written for various days of Christmastide and not intended to be performed together, as they often are today.

Recorded surveys of the two hundred or so sacred cantatas, including Gardiner's epic undertaking in 21981 and 2000, have brought Bach's spirituality to the forefront.

The basic formula that lit up the pop cantatas that first made him famous was apparent early on: something old, something new, something borrowed, nothing blue.

Those today who view religion negatively sometimes go even further and view Bach's church cantatas as essentially instrumental concertos, with the religious texts more or less extraneous.

Even so, Masaaki Suzuki leads his deeply experienced forces in four of the cantatas, with Sherezade Panthaki, Jay Carter, Zachary Wilder and Dominik Wörner as the soloists.

Mr. Gardiner, one of the few living conductors who has performed and recorded all the sacred cantatas, many of them repeatedly, hatched the notion of a ring.

With the American Classical Orchestra Chorus, Thomas Crawford leads three complete cantatas, including "Christ lag in Todesbanden" and "Nach dir, Herr, verlanget mich," plus a selection of choruses.

In a prolific career, Mr. Kingsley wrote a concerto for four Moogs, as well as musicals, operas, oratorios, cantatas, movie soundtracks and a rock version of Jewish Sabbath services.

"After you do a couple hundred Bach cantatas, you speak the language, you know the language, and we could just do it and it kind of goes," he explained.

Sometimes I listen to opera for several days and then all of a sudden I move on to Bach cantatas or the music of Zakir Hussain, an Indian tabla player.

But historically informed interpretation suggests the opposite: Bach's instrumental concertos, including the "Brandenburgs," are essentially church cantatas with implicit (and therefore harder-to-read) "texts" that do have real meaning.

Furthermore, its popularity not only obscured its authentic character but also caused Handel's "wider musical achievement in the field of opera, church music, chamber cantatas and instrumental compositions" to be overshadowed.

" In his college years, Mr. Harnoncourt and fellow students played through arias from the Bach cantatas and much else, realizing in the process that "the performers in Bach's time used different instruments.

Their performance of the big cantata "Die Himmel erzählen die Ehre Gottes" suffered from the necessary amplification, but these performers were heard to powerful effect that afternoon in three cantatas at the Nikolaikirche.

He said in an email that Mr. Schreier as a child sang with a boys' choir in Dresden, giving him a "real foundation of musical tradition" that led to exemplary interpretations of Bach's passions and cantatas.

He also became a part of the prestigious and close-knit ensemble Emmanuel Music, which the conductor Craig Smith had founded there in 1970 at Emmanuel Church, with performances of Bach's cantatas at the group's core.

But though Bach wrote his cantatas in several annual cycles tracing the liturgical calendar, any ring of manageable size — say, something like Wagner's 15 hours — would include just a fraction of the 200 or so works that survive.

In the 1970s and '80s he and the Concentus took part in a complete recording of the nearly 200 surviving Bach sacred cantatas for the Teldec label, sharing the performances with the Dutch harpsichordist Gustav Leonhardt and his Leonhardt Consort.

During a month I spent with her this summer as she drove around Germany giving speeches, she drew connections between politics and laboratory science, sprinkled her speech with Latin phrases, and steered discussions about German culture toward the cantatas of Bach.

Boston Symphony Orchestra musicians will get the chance to spend three to six months in Leipzig, Germany, performing with the Leipzig Gewandhaus Orchestra and the Leipzig Opera, and playing Sunday cantatas at St. Thomas's Church, where Bach was the cantor.

Not that the nature of the music differs greatly; in fact, many movements of the secular cantatas were retooled from sacred or instrumental pieces, a point Mr. Wachner made through canny juxtapositions of works and elaborated on beforehand in charming little tutorials.

BACH AT ONE, MARCH 6 Trinity Wall Street's excellent series Bach at One, New York's prime purveyor of Bach's cantatas in recent years, returned on schedule to the renovated St. Paul's Chapel with a focus on the master's organ works and music of German contemporaries.

That was one of the things I could do as music director was to be more adventurous, to get away from doing eternal Bach cantatas, which are of course magnificent — but do things that the audience maybe doesn't know, hasn't heard or has not heard played on period instruments.

The idea of a ring of cantatas, loosely modeled after presentations of Wagner's "Der Ring des Nibelungen" down the road in Bayreuth, arose from a 22021 discussion between John Eliot Gardiner, the president of the archive, and Michael Maul, then the dramaturg and now the artistic director of the festival.

She brought a mellow, unaffected delivery and finely contoured coloratura to selections from cantatas, oratorios and operas, including "Juditha Triumphans" (which will come in its entirety to Carnegie Hall as part of next season's Venice festival), "Orlando Furioso" and "L'incoronazione di Dario," sometimes allowing her voice to nestle inside the orchestral textures.

A marvelous example of inverted imagery in Bach's church cantatas is the fourth movement of "Whoever lets only the dear God rule" (BWV 93), where a soprano-alto duet gives voice to a hymn text by means of instrument-like countermelodies, while the violins and viola nonverbally intone the actual hymn tune.

Bach wrote more than 200 cantatas, of which many have survived. In the Bach-Werke-Verzeichnis (BWV), Wolfgang Schmieder assigned them each a number within groups: 1-200 (sacred cantatas), 201-216 (secular cantatas), and 217-224 (cantatas of doubtful authorship). Since Schmieder's designation, several of the cantatas he thought authentic have been redesignated as "spurious." However, the spurious cantatas retain their BWV numbers.

Bach demonstrated a new preference for solo cantatas, dialogue cantatas and cantatas dominated by one instrument (known as concertante cantatas). During the third cycle, he repeated performances of solo cantatas from his Weimar period based on texts by Georg Christian Lehms, , and . He Used other texts by Lehms before turning to other librettists. Bach's solo cantatas are modeled after secular Italian works by composers such as Alessandro Scarlatti.

In addition to the church cantatas composed for occasions of the liturgical year, Bach wrote sacred cantatas for functions like weddings or (the inauguration of a new town council). His secular cantatas, around 50 known works, less than half of which surviving with both text and music, were written for academic functions of the University of Leipzig, or anniversaries and entertainment among the nobility and in society, some of them (congratulatory cantatas) and (homage cantatas). Bach's cantatas usually require four soloists and a four-part choir, but he also wrote solo cantatas (i.e. for one soloist singer) and dialogue cantatas for two singers.

Volume 2 of the original release of the Koopman Bach cantatas on Erato, 1995 The Bach cantatas project of Ton Koopman was the first complete recording of all the cantatas, including the 21 secular cantatas. Koopman conducted the Amsterdam Baroque Orchestra & Choir and guest solo singers. The project began in 1995 and was completed in 2005 on 67 CDs. It was the second recording of the 193 sacred cantatas after the Harnoncourt-Leonhardt Bach cantatas project to use early instruments.

Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Christoph Graupner, Georg Philipp Telemann and Johann Sebastian Bach composed cycles of church cantatas for the occasions of the liturgical year.

Other secular cantatas are listed in BWV Anh. I, that is the appendix of the lost works. Even for these cantatas the music can sometimes be reconstructed, based on the church cantatas that were derived from them.

Coffee Cantata). Extant secular cantatas are published in the New Bach Edition (Neue Bach-Ausgabe, NBA), Series I, volumes 35 to 40, with the two Italian cantatas included in volume 41.Johann Sebastian Bach (1685–1750): New Edition of the Complete Works – Series I: Cantatas at Bärenreiter website The Bach Digital website lists 50 secular cantatas by Bach.Bach's secular cantatas in BWV order, each followed by a link to the Bach Digital Work (BDW) page of the cantata at the Bach-Digital website: Less than half of Bach's known secular cantatas survive with music.

All extant church cantatas Bach composed for occasions from 11 June 1724 (Trinity I) to 25March 1725 (Palm Sunday) are chorale cantatas. As such these cantatas have consecutive "K" numbers in the chronological Zwang catalogue for Bach's cantatas published in 1982. In the Zwang catalogue the cantata for Reformation Day Ein feste Burg ist unser Gott, BWV 80, is inserted between the cantatas for Trinity XXI and XII, as a cantata premiered in 1724.Philippe (and Gérard) Zwang.

Johann Nikolaus Forkel borrowed the manuscripts of Bach's chorale cantatas from Bach's son Friedemann and copied two of the cantatas, , and this cantata.

His surviving output includes around 90 church cantatas, as well as numerous chorales, secular cantatas and funeral cantatas, an "Operina" Die verliebte Nonne, one Brockes Passion, one Matthew Passion and a Sonata for oboe, strings and continuo composed for use in church.

Newly composed cantatas, to make the year cycle complete up to Trinity Sunday, were no longer in the chorale cantata format, possibly because Bach lost his librettist, likely Andreas Stübel, who died on 31January 1725. Only three cantatas staged between Good Friday and Trinity of 1725 became associated with the chorale cantata cycle. Bach's second year cycle of cantatas is complete apart from the cantatas for ChristmasII, EpiphanyIV–VI, and TrinityIV, VI, XII and XXVI–XXVII. For most of the occasions that lack a cantata in the second cycle there are however extant chorale cantatas.

Many Christmas cantatas – as cantatas in general – were written in the Baroque era for church services, related to the prescribed readings of the liturgical year. Cantata texts frequently incorporated Bible quotations and chorale. Chorale cantatas rely on the text of one chorale only. Later composers also set free text, poems and carols.

Late church cantatas by Johann Sebastian Bach refers to sacred cantatas he composed after his fourth cycle of 1728–29. Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but the extant cantatas of this period written for occasions of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have written five such cycles – inasmuch as such cantatas were not late additions to earlier cycles (e.g. chorale cantatas added to the chorale cantata cycle), or were adopted in his oratorios. Other cantatas of this period were written for special occasions such as the 200th anniversary of the Augsburg Confession in June 1730, funerals and weddings.

"JSB: the full works" in The Independent, 2 May 1997 In the Bach-Werke-Verzeichnis (BWV) the range of Nos. 201 to 216a contains mostly extant secular cantatas. Other secular cantatas are in the range of the church cantatas (BWV 1–200), most of them with an "a", "b" or "c" index added to the number of a church cantata while the cantatas share the same music. The same applies for the secular cantata precursors of the Easter Oratorio.

Caroline Stam is a Dutch classical soprano who has an international (European) performing career specializing in baroque repertoire, reinforced by a distinguished presence in modern recordings (see below).Christoph Wolff, The Leipzig church cantatas: 1st cycle (V: 1723-1724) and chorale cantatas of the 2nd cycle (I:1724-1725) (Complete Cantatas/Ton Koopman/Vol 10.) Artist profiles .

After Bach's death the cantatas fell into obscurity even more than his oratorios. There is some evidence for the chorale cantatas being performed at Leipzig after Bach's death, but the cantatas were little known until a society called the Bach-Gesellschaft began to publish the composer's complete works starting in 1851. Only one of the cantatas, , had been published during Bach's lifetime. The cantata , was selected as the first work to appear in the Bach-Gesellschaft-Ausgabe, the first complete edition.

Before Bach chorale cantatas, that is, cantatas entirely based on both the text and the melody of a single Lutheran hymn, had been composed by among others Samuel Scheidt, Johann Erasmus Kindermann, Johann Pachelbel and Dieterich Buxtehude. Sebastian Knüpfer, Johann Schelle and Johann Kuhnau, Bach's predecessors as Thomaskantor, had composed them. Contemporary to Bach, Christoph Graupner and Georg Philipp Telemann were composers of chorale cantatas. From his appointment as Thomaskantor in Leipzig end of May 1723 to Trinity Sunday a year later Bach had been presenting the church cantatas for each Sunday and holiday of the liturgical year, his first annual cycle of cantatas.

Bach composed the cantata for the Twelfth Sunday after Trinity. It forms part of a cycle of chorale cantatas which Bach composed in Leipzig over a period of two years 1724–25. In 1724, his second year in the city, Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday, but for Easter had returned to cantatas on more varied texts, possibly because he lost his librettist. Later Bach composed again chorale cantatas to complete his second annual cycle.

The cantatas are in the Italian style. The lyrics are often very obscure. The cantatas for “contralto” are particularly elaborate with long melismatic sections. It is not clear whether they were intended for male or female singers.

The selection is taken from the listing on the Bach-Cantatas website.

The selection is taken from the listing on the Bach Cantatas Website.

It is regarded as part of his third annual cycle of cantatas.

His works include ten operas, two cantatas, and orchestral and choral works.

László also recorded a number of the Bach cantatas under Hermann Scherchen.

Bach held the position of Thomaskantor (director of church music) in Leipzig from 1723. During his first year, beginning with the first Sunday after Trinity, he wrote a cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran hymn. Bach composed the chorale cantata for Estomihi (Quinquagesima), the last Sunday before Lent, when Leipzig observed tempus clausum and no cantatas were performed.

Also, some cantatas traditionally seen as belonging to the chorale cantata cycle are not chorale cantatas in a strict sense, for instance the cantata for the Sunday between New Year and Epiphany added to the chorale cantata cycle in 1727. Neither the second cantata cycle, nor the chorale cantata cycle are complete annual cycles as extant. Even a merging of both cycles into one, with some occasions having two cantatas, which hardly can be seen as an intention of the composer, would still be missing a few cantatas (e.g. for Easter 3 and Trinity XXVI).

Like the models, even church cantatas do not contain biblical text and very few close with a chorale. His writing for solo voice is demanding, and requires trained singers. Richard D. P. Jones, a musicologist and Bach scholar, assumes that Bach "exploited the vocal technique and the interpretative skills of particular singers". Jones describes some of these solo cantatas, especially , and , as among Bach's "most-beloved" cantatas.

In , also composed to complete the second annual cycle of chorale cantatas, Bach also used the unchanged words of the chorale, different from the cantatas originally composed for the cycle. Bach first performed the cantata on 6 July 1732.

The entries of the following table are taken from the Bach Cantatas Website.

Bach Aria Group: Bach Cantatas & Other Vocal Works at Bach Cantatas Website. Bloom transcribed and elaborated 18th-century masterworks for the oboe. His own compositions include a Sonatina for oboe and piano. Bloom was a professor at Yale and Juilliard.

Marazzoli wrote a large number of cantatas, for one to six voices with continuo accompaniment. Eleanor Caluori in her article of Marco Marazzoli in The New Grove Dictionary of Music and Musicians 1st edition gives a complete list of his cantatas.

Förster's surviving works are mostly sacred cantatas for three voices, with two violins and continuo. Some 35 survive, and they often contain very low and difficult bass parts. His other works include two oratorios, six trio sonatas, and four secular cantatas.

Cantatas, both of the chamber variety and on a grand scale, were composed after 1900 as well. Indeed, it would not be an exaggeration to claim that one of the most popular pieces of classical music of the 20th century to the layman's ears, is a cantata, namely Carmina Burana (1935–1936) by the German composer Carl Orff. In the early part of the century, secular cantatas once again became prominent, while the 19th-century tradition of sacred cantatas also continued. Ralph Vaughan Williams composed both kinds: "festival" cantatas such as Toward the Unknown Region (1907), Five Mystical Songs (1911), and Five Tudor Portraits (1936), and sacred cantatas including Sancta civitas (1926), Benedicite (1930), Dona nobis pacem (1936), and Hodie (1954).

Recordings of Bach's cantatas began in the first half of the 20th century. Series of recordings, often for broadcasting, were made from 1950. Nikolaus Harnoncourt and Gustav Leonhardt were the first to begin recording the complete cantatas in a 20-year collaboration using period instruments, boys' choirs and boy soloists. Helmuth Rilling completed a recording of the sacred cantatas and oratorios on Bach's 300th birthday, 21 March 1985.

Bach's earliest cantatas are church cantatas, although his early Wedding Quodlibet is sometimes grouped with the secular cantatas.Terry 1933, pp. 103–104Secular Cantatas: Der zufriedengestellte Aeolus (BWV 205), Quodlibet (BWV 524). Hänssler Classics, Edition Bachakademie Vol. 63, Rilling. The oldest extant secular cantata is from his Weimar period where he composed the Hunting Cantata (BWV 208, first version) for the birthday of Christian, Duke of Saxe-Weissenfels on 23 February 1713.

Although dialogue cantatas also appear earlier in Bach's works, all four dialogues between Jesus and the Soul (Anima) – based on elements of the Song of Songs – are part of the third cycle. The only chorale cantata of the third cycle, , follows the omnes versus style and sets all stanzas of a hymn unchanged; Bach rarely used this style in his chorale cantatas, except in the early and later chorale cantatas.

Court chapel of Friedenstein Palace, where, from late 1719, most of Stölzel's sacred music was first performed Court chapel of Sondershausen Palace According to an 18th-century source Stölzel would have composed eight double cantata cycles. Stölzel composed twelve complete annual cycles of sacred cantatas, which amounts to 1,358 cantatas. 1,215 of these are at least partially extant, 605 surviving with music.Siegmund 2007 Additionally, Stölzel set cantatas to secular texts.

The group played a selection of music from the Bach cantatas in instrumental arrangements.

77-99 in Understanding Bach 4, 2009 Cantatas for some occasions are not extant.

He was more interested in the theological than the musical aspects of these cantatas.

He also wrote educational works for piano.Grove via Bach-cantatas He died in Königsberg.

Obviously some of the information and compositions of this period of writing and performing of cantatas are missing, leading to different ways of presenting and connecting what is known about them by Bach-scholars. For instance, in the 19th century Spitta considered almost all of Bach's chorale cantatas as late cantatas,Philipp Spitta, translated by Clara Bell and J.A. Fuller Maitland. Book V: The Final Period of Bach's Life and Work, ChapterIII: "The later Chorale Cantatas" pp. 64–108 in Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750 Volume 3.

A singular desire to bring to Boston's listeners music that isn’t being heard anywhere else has inspired Cantata Singers’ programming for 50 years. In 1964, that music included the cantatas of J.S. Bach. Today, it may be hard for us to believe, but when Cantata Singers was founded in 1964, live performances of Bach cantatas were quite a rarity. In fact, Cantata Singers’ early concerts featured the first Boston performances of many of the cantatas. Bach's music, from the cantatas to the B-minor Mass to the Passions, remains an essential part of Cantata Singers’ repertoire.

Bach composed a further 13 cantatas in his second year at Leipzig, none of them chorale cantatas, although two of them became associated with the chorale cantata cycle. After his second year in Leipzig, he composed at least eight further cantatas for inclusion in his chorale cantata cycle. Around the start of the Bach Revival in the 19th century, almost no manuscripts of Bach's music remained in St. Thomas in Leipzig, apart from an incomplete chorale cantata cycle. In Leipzig the chorale cantatas were, after the motets, the second most often performed compositions of Bach between the composer's death and the Bach Revival.

In the early 1950s Fritz Lehmann recorded several cantatas with the Berliner Motettenchor and the Berlin Philharmonic. From 1953, Max Thurn conducted for the broadcaster NDR a series of Bach cantatas, with members of the NDR Chor and members of the NDR Sinfonieorchester. Karl Richter called his choir programmatically Münchener Bach-Chor in 1954 and recorded about a third of the cantatas. Between 1958 and 1987, the London Bach Society, conducted by Paul Steinitz performed all the extant church and secular cantatas, 208 separate works, in various venues, mostly in the Church of St Bartholomew-the-Great, London.

He recorded several cantatas in the project conducted by Masaaki Suzuki with the Bach Collegium Japan to record all sacred Bach cantatas, including volume 33 in 2005 and volume 36 in 2006. He took part in Sigiswald Kuijken's project to record Cantatas through the Liturgical Year with the ensemble La Petite Bande on period instruments and one voice per part (OVPP). He recorded Bach's solo cantatas for bass such as Ich will den Kreuzstab gerne tragen, BWV 56, for example in 2013 with Ryo Terakado conducting the ensemble il Gardellino. In 2009 Wörner recorded Lieder by Hans Rott, a contemporary of Gustav Mahler.

Bach continued to compose chorale cantatas after his second year in Leipzig, at least up to 1735. However, the chorale cantata cycle that survived the 18th century remains an incomplete cycle, primarily missing a few cantatas for the Easter to Trinity period.

His works, published in 1751 include, in addition to dramatic works, odes, cantatas, and letters.

The List of Bach cantatas is organized by BWV number but sortable by other criteria.

Maarten 't Hart's biography, focussing on Bach's cantatas, appeared in Dutch and German in 2000.

' (Watch! Pray! Pray! Watch!) is the title of two church cantatas by Johann Sebastian Bach.

In Köthen, he had to write cantatas only for the court's two secular feast days: the prince's birthday and New Year's Day. He wrote as a congratulatory cantata for New Year's Day of 1719. Only few cantatas survived of the twelve that Bach is thought to have composed in his six years while in Köthen, including , composed for the prince's birthday, probably in 1722. The homage cantatas were performed as serenatas or evening serenades.

Gottfried Heinrich Stölzel composed for the season 1736/1737 a structure of six cantatas for six feast days around Christmas, similar to Bach's Christmas Oratorio, including Kündlich groß ist das gottselige Geheimnis. More of his Christmas cantatas were published in 2007 by Hofmeister. Christmas cantatas were also composed by Georg Gebel, Christoph Graupner, Andreas Hammerschmidt, Arnold Brunckhorst, Johann Samuel Beyer, Philipp Buchner, David Pohle, Johann Hermann Schein and Thomas Selle, among others.

The choir of about 80 voices performs cantatas, oratorios, Passions and a cappella music. Works of Johann Sebastian Bach dominate the repertoire, such as recordings of 75 Bach cantatas,Bach 75 Cantatas bach- cantatas.com They recorded Bach's Mass in B minor also with Hans-Martin Schneidt and his Christmas Oratorio in 2005 with Peter Schreier as both conductor and the Evangelist. Works of other composers from Baroque to contemporary are performed as well.

The texts were published and it is assumed that Johann Sebastian Bach obtained a copy.Alfred Dürr, Richard D. P. Jones, The Cantatas of J. S. Bach: with their librettos in German-English (2006), p. 16 While working at Weimar, Bach set words by Lehms for his first two solo cantatas. He avoided the poet's larger-scale work, going on to use the more intimate texts for another eight of his surviving cantatas.

Gott ist mein König, BWV 71, Bach's council election (Ratswahl) cantata composed for Mühlhausen in 1708, was printed that same year at the expense of the town council. Also in 1709 and 1710 Bach wrote the council election cantatas for Mühlhausen, which likewise would have been printed. These cantatas, BWV 1138.1 and 1138.2, are however lost: neither a print nor a manuscript survives. ; Publication : The Mühlhausen council commissioned the publication of the cantatas.

Some of his motets (e.g., the solo motets, op.2, and the two- and three-part motets, op.3), are written in the lively melodic contrapuntal style of the Roman church cantatas of Giacomo Carissimi, and look forward to the chamber cantatas of Handel.

He paired the cantata with 'Die Freude reget sich, BWV 36b. Koopman recorded the cantata in 1998 as part of volume 10 of his complete recordings of Bach's church cantatas, combined with the Easter cantata based on it and with other church cantatas. In 2000, Rilling recorded, as volume 139 of Bach's cantatas, five Congratulatory and Hommage Cantatas, two of them for the first time: Angenehmes Wiederau and Schwingt freudig euch empor. In his 2011 recording, Suzuki paired the cantata with the Hunting Cantata and the Sinfonia in F major, BWV 1046a/1, from an early version of the Brandenburg Concerto No. 1, with the same scoring as the Hunting Cantata.

She recorded several Bach cantatas, his Magnificat and Easter Oratorio with Marcel Couraud. She recorded his Mass in B minor with Hans Grischkat, and with Fritz Werner more cantatas and the St John Passion. Sailer was a voice teacher at the Musikhochschule Stuttgart. She died in Stuttgart.

"Introduction" of Thematisch- systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach. Leipzig: Breitkopf & Härtel, 1950. In the New Bach Edition cantatas were grouped by liturgical function (occasion), so also in that edition the chorale cantatas did not come out as a group or cycle.The New Bach Edition – Series I: Cantatas at the Bärenreiter website In the 21st century Klaus Hofmann has termed the cycle "the largest musical project that the composer ever undertook: the 'chorale cantata year'".

18 Lehms made his name with the collection Teutschlands Galante Poetinnen (Germany's Gallant Poetesses). The title page of Teutschlands Galante Poetinnen sums up the work thus: Lehms wrote libretti for operas and cantatas. The cantatas, while being religious works performed as part of the Lutheran services of the Darmstadt court, can be seen as influenced by secular poetry like the cantatas of Neumeister. They were set to music by Christoph Graupner, the Kapellmeister, and his assistant Gottfried Grünewald.

In 2000 she took part in the Bach Cantata Pilgrimage with the Monteverdi Choir conducted by John Eliot Gardiner, a project which performed and recorded the complete church cantatas of Bach. Her recordings of Bach cantatas with John Eliot Gardiner and the Monteverdi Choir include Herr, wie du willt, so schicks mit mir, BWV 73, for the Third Sunday after Epiphany. She has also recorded Bach cantatas with the Bach Collegium Japan. For Bach's motets, she collaborated in 2003 with the Hilliard Ensemble.

A month after Easter, on 24 May 1707, an agreement was reached to hire Bach, who seems to have been the only candidate considered seriously. Bach performed the cantata again while Thomaskantor in Leipzig, notably at his first Easter there on 9 April 1724. He also performed it the following year on 1 April 1725, in his second cycle of Leipzig cantatas, a cycle of chorale cantatas based on Lutheran hymns. It followed in the cycle some forty newly composed cantatas.

He recorded the Easter Oratorio in 1994 with the Collegium Vocale Gent and Philippe Herreweghe.Oster-Oratorium #13 on bach-cantatas With the Gächinger Kantorei and Helmuth Rilling he recorded the St John Passion in 1996,Edition Bachakademie Vol. 75 St. John Passion #73 on bach-cantatas and the Christmas Oratorio in 2000.Christmas Oratorio #79 on bach-cantatas He sang in Bach's Mass in B minor in Bamberg with Sir Roger Norrington, and in Haydn's Orlando Paladino with Nikolaus Harnoncourt.

When Bach composed the cantata, he was in his second year as Thomaskantor (director of church music) in Leipzig. During his first year, beginning with the first Sunday after Trinity 1723, he had written a cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran hymn. It included Was mein Gott will, das g'scheh allzeit.

Gardiner had a successful collaboration with Deutsche Grammophon from the 1980s, but the company was willing to release only a small number of the Bach cantatas which were recorded live in 2000. SDG set out to release a complete set of CDs of the Bach Cantata pilgrimage's concerts.SDG did not duplicate the small number of cantatas released on DG. In October 2005 its very first release, Bach Cantatas, volume 1 (SDG101), won "Record of the Year" at the Gramophone Awards.Laura Roberts.

Armes wrote oratorios, cantatas, church music,ChoralWiki article madrigals and two organ pieces ('Introduction and Fugue' and 'Pastorale').

Anton Bruckner composed eight cantatas during his life, the earliest Vergißmeinnicht, in 1845, the last, Helgoland, in 1893.

In the 21st century, new Christmas cantatas have been written among others by Toshio Hosokawa and Graham Waterhouse.

Koopman also released a video performance of 6 Bach cantatas with the Amsterdam Baroque Orchestra & Choir in 2007.

Weiner composed more than 200 art songs as well as Yiddish and Hebrew cantatas and full synagogue services.

The Italian solo cantata tended, when on a large scale, to become indistinguishable from a scene in an opera, in the same way the church cantata, solo or choral, is indistinguishable from a small oratorio or portion of an oratorio. This is equally evident whether one examines the church cantatas of Bach, of which nearly 200 are extant (see List of Bach cantatas), or the Chandos Anthems of Handel. In Johann Sebastian Bach's case some of the larger cantatas are actually called oratorios; and the Christmas Oratorio is a collection of six church cantatas actually intended for performance on six different days, though together forming as complete an artistic whole as any classical oratorio.

The words of Bach's cantatas, almost always entirely in German, consist mostly of 18th-century poetry, Lutheran hymns and dicta. Hymns were mostly set to their Lutheran chorale tune. His chorale cantata cycle contains at least 40 chorale cantatas, each of these entirely based on text and tune of such hymn.

He continued the following year, composing a cycle of chorale cantatas with each cantata based on a Lutheran hymn.

Ralph Graves, "Exceptional performances of Graupner cantatas", WTJU FM, University of Virginia, 15 November 2018, retrieved 15 September 2020.

When Bach composed the cantata, he was in his second year as Thomaskantor, the director of church music in Leipzig. During his first year there, he had composed a cycle of cantatas for the occasions of the liturgical year that began on the first Sunday after Trinity 1723, and known as his first cantata cycle. In his second year he had composed a second cycle of cantatas that was planned to consist exclusively of chorale cantatas based on Lutheran hymns. is based on Philipp Nicolai's "" (1599).

James Taylor grew up in Houston. He studied singing with Arden Hopkin at the Texas Christian University. He continued his studies on a Fulbright scholarship at the Hochschule für Musik in Munich with Adalbert Kraus and Daphne Evangelatos.James Taylor on the bach-cantatas website He has internationally appeared in Bach's cantatas and oratorios.

Later in 1727, and in early 1728, there are two further secular cantatas composed by Bach on a Picander libretto.

In 1929 the Swedish bishop Nathan Söderblom, a recipient of the Nobel Peace Prize, called Bach's cantatas the Fifth Gospel.

Oratorios and cantatas 3\. Songs, melodramas VII. Supplements and varia (ca. 7 volumes)Volume numbers see Zahrádka, p. 107. 1\.

The cantata was published in 1862 as in volume 11 of the Bach-Gesellschaft Ausgabe (BGA), edited by Wilhelm Rust. The New Bach Edition (Neue Bach- Ausgabe, NBA) published the score in 1969, edited by Werner Neumann, in volume 40, Hochzeitskantaten und Weltliche Kantaten verschiedener Bestimmung (wedding cantatas and secular cantatas for different occasions).

The scoring is unique in Bach's cantatas, but was frequently used by Italian composers such as Alessandro Scarlatti. Bach's son Friedemann Bach arranged the work by adding a second trumpet and timpani. The cantata is one of only four sacred cantatas that Bach wrote for a solo soprano (if one excludes his arrangement of the cantata for solo bass and oboe , for flute and soprano BWV 82a) and no other vocal soloists (the others being , , and ), while he wrote several secular cantatas for solo soprano: , , , and .Liebergen, Patrick.

' (God so loved the world), 68', is a cantata by Johann Sebastian Bach, a church cantata for the second day of Pentecost. Bach composed the cantata in Leipzig and first performed it on 21 May 1725. It is one of nine cantatas on texts by Christiana Mariana von Ziegler, which Bach composed at the end of his second annual cycle of cantatas in Leipzig. In a unique structure among Bach's church cantatas, it begins with a chorale and ends with a complex choral movement on a quotation from the Gospel of John.

The term "cantata" came to be applied almost exclusively to choral works, as distinguished from solo vocal music. In early 19th-century cantatas the chorus is the vehicle for music more lyric and songlike than in oratorio, not excluding the possibility of a brilliant climax in a fugue as in Ludwig van Beethoven's Der glorreiche Augenblick, Carl Maria von Weber's Jubel-Kantate, and Felix Mendelssohn's Die erste Walpurgisnacht. Anton Bruckner composed several Name-day cantatas, a Festive Cantata and two secular cantatas (Germanenzug and Helgoland). Bruckners's Psalm 146 is also in cantata form.

Although Grandval was a respectable keyboard player - at one time organist at St Eustache - and a composer of harpsichord pieces, numerous airs and cantatas, ... and in musical comedy such as frivolous parodies on Clérambault's cantatas.Two cantatas for soprano and chamber ensemble - Page xix Louis Nicolas Clérambault, Donald H. Foster - 1979 "The section of this chapter on Grandval's parodies also appeared in essentially the same form as "Parodies on Clérambault Cantatas by Nicolas Grandval," Recherches sur la musique franchise classique IV (1964):120-6. 14." His sister Marie-Hortense married the actor Charles Botot Dangeville.

Book V: The Final Period of Bach's Life and Work, ChapterIII: "The later Chorale Cantatas" pp. 64–108 in Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750 Volume 3. Novello & Co. 1884–1885. Like Spitta, Reginald Lane Poole (1882) and Charles Sanford Terry (1920) saw the chorale cantata as a development of the composer's later years, and failed to list more than a handful, leave alone a cycle, of such cantatas premiered between Trinity 1724 and Easter 1725 in their chronological lists of Bach's cantatas.

Early July 1733, Bach was still completing the composition, and the performance parts he intended to send to Dresden. Around this time, there are the earliest documented signs he used cantatas composed by Stölzel for performance in Leipzig. He may have performed two cantatas from Stölzel's Namebook cycle, for the fifth and sixth Sunday after Trinity, in July 1733: his copies of these cantatas date from around this time. He performed Stölzel's Ein Lämmlein geht und trägt die Schuld on Good Friday , and likely Stölzel's entire String-Music cantata cycle from 1735 to 1736.

Born in Bern, Jakob Stämpfli studied voice at the Bern Conservatory with Jakob Keller and at the Musikhochschule Frankfurt with Paul Lohmann.Jakob Stämpfli on bach-cantatas, 2009 His first recording was in 1955 the bass part of Bach's Christmas Oratorio with the Thomanerchor conducted by Günther Ramin. Stämpfli's repertoire includes all the oratorios of Johann Sebastian Bach and more than one hundred Bach cantatas. He recorded especially with the Gächinger Kantorei and Helmuth Rilling, including rarely performed cantatas such as, in 1967, the reconstructed Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a, also called Shepherd cantata.

As far as we know, the earliest cantatas of Johann Sebastian Bach were performed in Mühlhausen from 1706 to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as (a psalm setting), and the Easter chorale cantata . Wilhelm Ernst, Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August.

He died in Wiesbaden. After his death, memorial performances of his cantatas were held in Stuttgart. Notable students include George Lichtenstein.

Some cantatas are composed for a solo singer (Solokantate), as , for soprano, sometimes concluded by a chorale, as in , for bass.

Gli Angeli Genève is a Baroque ensemble based in Geneva, Switzerland. Founded in 2005 by the bass-baritone, Stephan MacLeod, their debut performance was at the Festival Amadeus de Meinier. The ensemble performs an annual season of four concerts in Geneva, primarily dedicated to Bach's cantatas and records for Sony Classical. Their debut album, German Baroque Cantatas Vol.

The Lutheran church of the Baroque observed three days of Pentecost. Some composers wrote sacred cantatas to be performed in the church services of these days. Johann Sebastian Bach composed several cantatas for Pentecost, including Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, in 1714 and Also hat Gott die Welt geliebt, BWV 68, in 1725.

Paul was an accomplished musical amateur, composer, and patron of the arts. He composed numerous cantatas, the most notable of which are Harmonia Caelestis. Harmonia Caelestis is a cycle of 55 sacred cantatas composed in the Baroque style published in Vienna in 1711. Paul was one of the chief compilers of the Trophaeum Domus Inclytae Estorationae.

Numerous works by Kuhnau are lost, including stage works, cantatas, numerous pieces of occasional music, and so on. Some cantatas, arias, and odes survive in text- only versions. Lost also were at least two treatises: Tractatus de tetrachordo seu musica antiqua ac hodierna and De triade harmonica. The following list only includes works that are extant in complete form.

All Christmas cantatas consist of several movements, most movements include solo and choral singing. The scoring can be chamber music to be performed by single singers and instruments, choir a cappella, and works for soloists, choir and orchestra. Several composers specifically asked for a children's choir. Trumpets feature prominently in many Baroque cantatas as the Royal instruments.

The introductions were originally written for weekly broadcasts of Bach cantatas on Mitteldeutscher Rundfunk, begun in the early 1990s and covering 226 cantatas over a period of five years. Schulze included not only musicological facts, such as the structure of a work, but also social context, reliability of a work's sources, and relation to other compositions.

Unlike Johann Sebastian Bach’s cantatas, Weyse's cantatas were designed to be played after the service, rather than used as liturgical music during the service. His Easter Cantata No. 1, Hil dig, hil dig, livets morgenrøde, was written in 1836 and is based on the works of Thomas Thaarup. The work premiered on Sunday 22 April in Trinitatis Church.

Graupner was hardworking and prolific. There are about 2,000 surviving works in his catalog, including 113 sinfonias, 85 ouvertures (suites), 44 concertos, 8 operas, 1,418 religious and 24 secular cantatas, 66 sonatas and 57 harpsichord partitas.Prima la musica! began publishing a series of modern scores for some of Graupner's, ouvertures,sinfonias, and annual cantata cycles of cantatas in 2007.

Stuck, Jean-Batiste (Battistin). "Cantatas." Edited by David Tunley. In The Eighteenth Century French Cantata, Volume 4. New York: Garland Publishing, 1990.

Neumann's own works include eleven operas, two ballets, two cantatas, a Moravian Rhapsody, a Piano Trio, an Octet, and many other works.

He has since brought his output of work up to over 200 again, including twelve symphonies, organ music, cantatas and cabaret songs.

Ingrid Schmithüsen (born 1960) is a German soprano, specialising in concert music and Lied recitals. She recorded Bach cantatas with Masaaki Suzuki.

The listing is taken from the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by green background.

Lore Fischer (27 May 1911 – 16 October 1991) was a German alto, a concert singer who recorded Bach cantatas with Fritz Lehmann.

Boyd, Malcolm. Oxford Composer Companions: J.S. Bach, Oxford University Press, 1999, p. 441–442 Virtually all Bach's cantatas were unpublished in his lifetime.

The entries are taken from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed practise are marked green.

Scheibe composed concertos, sinfonias, sonatas, suites, partitas and incidental music. His vocal music includes operas, cantatas, oratorios, chorales, mass sections, songs and odes.

The selection is taken from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performances are marked green.

Kantaten zu Neujahr und zum Sonntag nach Neujahr, Vol. 4: Critical Commentary of Series I: Cantatas of the New Bach Edition. , p. 118.

For the in G minor, BWV 235, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.

For the in G major, BWV 236, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.

Bach is known as a prolific composer of cantatas. When he assumed the position as Thomaskantor (director of church music) in Leipzig in 1723, he began the project to write church cantatas for the occasions of the liturgical year – Sundays and feast days – a project that he pursued for three years. Bach was appointed organist and chamber musician in Weimar at the court of the co- reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August on 25 June 1708. He had composed sacred cantatas before, some during his tenure in Mühlhausen from 1706 to 1708.

Johann Sebastian Bach's chorale cantata cycle is the year-cycle of church cantatas he started composing in Leipzig from the first Sunday after Trinity in 1724. It followed the cantata cycle he had composed from his appointment as Thomaskantor after Trinity in 1723. Bach's second cantata cycle is commonly used as a synonym for his chorale cantata cycle, but strictly speaking both cycles overlap only for 40 cantatas. Two further chorale cantatas may belong to both cycles: the final version of , and the earliest version of ; it is, however, uncertain whether these versions were first presented in Bach's second year in Leipzig.

The Storm on the Sea of Galilee by Rembrandt, 1632 Martin Luther (Cranach the Elder, 1533) Bach held the position of Thomaskantor (director of church music) in Leipzig from 1723. During his first year, beginning with the first Sunday after Trinity, he had written a first cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran chorale. As Easter was early in 1725, there was no Fourth Sunday after Epiphany that year.

With BWV 20, Bach entered on a new scheme for the second cycle: to compose chorale cantatas based exclusively on the main Lutheran hymns associated with the day in the liturgical calendar. After completing his second cycle, Bach's third cycle was composed sporadically between 1725 and 1727. Moreover, Bach does not seem to have marked the anniversary of his appointment in 1725. Somewhat exceptionally, from February to late September 1726, the cantatas performed in Leipzig were mainly those by Bach's distant cousin Johann Ludwig Bach, court composer at Meiningen, with gaps filled by Bach's own cantatas written in the previous year.

Bach composed the cantata during his second year in Leipzig for Trinity. The prescribed readings for the Sunday were from the Epistle to the Romans, reflecting "depth of wisdom" (), and from the Gospel of John, the meeting of Jesus and Nicodemus (). In his second year in Leipzig, Bach composed chorale cantatas between the first Sunday after Trinity Sunday and Palm Sunday, but for Easter returned to cantatas on more varied texts, possibly because he lost his librettist. Nine of his cantatas for the period between Easter and Pentecost are based on texts of Christiana Mariana von Ziegler, including this cantata.

Bach wrote the cantata in his second year in Leipzig for the Sunday Exaudi, the Sunday after Ascension. The prescribed readings for the feast day were from the First Epistle of Peter, "serve each other" (), and from the second Farewell discourse in the Gospel of John, the promise of the Paraclete, the "Spirit of Truth", and the announcement of prosecution (). Some of the cantatas composed by Bach in his second year were chorale cantatas, a format he chose for services between the first Sunday after Trinity and Palm Sunday. For Easter he had returned to cantatas on more varied texts.

Bach held the position of Thomaskantor (director of church music) in Leipzig from 1723. During his first year, beginning with the first Sunday after Trinity, he wrote a cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran hymn. Parable of the Sower, the topic of the prescribed gospel, etching by Jan Luyken As part of this cycle, Bach composed Erhalt uns, Herr, bei deinem Wort for Sexagesima, the second Sunday before Lent.

Bach's duties as an organist included accompanying congregational singing, and he was familiar with the Lutheran hymns. Some of Bach's earliest church cantatas include chorale settings, although he usually incorporates them into just one or two movements. Hymn stanzas are most typically included in his cantatas as the closing four-part chorale. In his passions, Bach used chorale settings to complete a scene.

This is evident in his wealth of orchestral and chamber music, much of which was probably composed for performance at the Merseburg court. During his time in Merseburg he was also required to compose Italian Cantatas, and purportedly also learned Italian for this purpose. Although there are several Italian cantatas listed in Breitkopf's thematic catalogue, few, if any, of these pieces have survived.

The corno da tirarsi ("pull horn") is a Baroque brass instrument. Johann Sebastian Bach wrote for the instrument when he was working in Leipzig, and it appears to have been played for him by Gottfried Reiche. It has been stated that it appears in four Bach cantatas. However, it is only called for in three cantatas by name, BWV 46, 162 and 67.

In 1955, she was the first woman who was awarded the title Kirchenmusikdirektorin. She was honoured in 1966 with the Schulmusikpreis of Fürth, and in 1971 with the Order of Merit of the Federal Republic of Germany. Fronmüller composed sacred cantatas, motets and songs, as well as chamber music. Her Chorale cantatas for choir and brass became popular and were performed often.

In Johann Sebastian Bach's time, the election or inauguration of a new town council, normally an annual event, was celebrated with a church service. A cantata written for such occasion was indicated with the term (council election) or (council change). Bach composed such cantatas for Mühlhausen and for Leipzig. Five of these cantatas (BWV 71, 119, 120.1, 29 and 69.2) are entirely extant.

With Roger Vignoles, he performed at the festivals in Cambridge and Lugo Schubert's Winterreise. Harvey has recorded more than 80 albums, including Bach's Passions and cantatas, cantatas by Dieterich Buxtehude, motets by Jean- Baptiste Lully and Jean-Philippe Rameau, sacred music by Monteverdi and Mozart's Requiem. He has been a visiting professor at the Royal College of Music in London.

On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe- Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the ' (palace church), on a monthly schedule. The exact chronological order of Bach's Weimar cantatas remains uncertain. Only four bear autograph dates.

The entries in the table are taken from the selection on the Bach Cantatas Website. Ensembles playing period instruments are marked by green background.

Alfred James Caldicott ( 26 November 1842 – 24 October 1897) was an English musician and composer of operas, cantatas, children's songs, humorous songs and glees.

A list of recordings is provided on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are shown by green background.

A list of recordings is provided on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are shown with green background.

Aldo Baldin (1 January 1945 - 5 January 1994) was a Brazilian opera and concert-hall tenor. His recordings include a number of Bach cantatas.

Bach's autograph of an aria in the cantata Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 The cantatas composed by Johann Sebastian Bach, known as Bach cantatas (German: ), are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as and director of church music in Leipzig, a position which he took up in 1723. Working for Leipzig's and , it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service.

The listing is taken from the selection on the Bach- Cantatas website. Ensembles playing period instruments in historically informed performances are marked by green background.

He also wrote two masses for choir and orchestra, one mass for unaccompanied voices, 47 cantatas and a number of oratorios, passions, psalms, and motets.

The listing is taken from the selection on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are shown with green background.

The entries are taken from the listing on the Bach Cantatas Website. Ensemble with period instruments in historically informed performance are marked by green background.

The entries are taken from the listing on the Bach Cantatas Website. Ensembles with period instruments in historically informed performance are marked by green background.

A list of recordings is provided on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by a green background.

The table is excerpted from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performances are marked by green background.

The listing is taken from the selection on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by green background.

2 oratorios; 4 masses; 6 motets; psalm cantatas; secular cantatas; 3 keyboard sonatas, 1 keyboard concerto; and 1 symphony. Several of her pieces have been published in recent years. The three keyboard sonatas (in E Major, G Major and A Major) are available through Hildegard Publishing. Many works are also available through Furore-Verlag, a German publisher that specializes in works by women composers.

In 1747 he was appointed Kapellmeister to John Frederick, Prince of Schwarzburg- Rudolstadt. He died in Rudolstadt in 1753. Gebel was a prolific composer. While in Breslau, he wrote a variety of instrumental and vocal music, and while in Rudolstadt, wrote 12 operas, two Passions, two Christmas cantatas, sets of cantatas for several years, more than 100 orchestral symphonies, partitas, concertos, and so on.

Most of the solo movements are based on poetry of contemporary writers, such as court poet Salomon Franck in Weimar or Georg Christian Lehms or Picander in Leipzig, with whom Bach collaborated. The final words were usually a stanza from a chorale. Bach's Chorale cantatas are based exclusively on one chorale, for example the early , and most cantatas of his second annual cycle in Leipzig.

Bach assumed the position of on 30 May 1723, the first Sunday after Trinity, performing two ambitious cantatas in 14 movements each: , followed by . They form the beginning of his attempt to create several annual cycles of cantatas for the occasions of the liturgical year. He performed again on 20 February 1724, as a printed libretto shows, and probably did so again in later years.

For most of the others at least the libretto survives. Some of the secular cantatas are based on music Bach had composed at an earlier date (e.g. some music of the first Brandenburg Concerto was adopted in a secular cantata), and Bach quite often parodied secular cantatas into church music: for instance his Christmas Oratorio opens with music originally written for a secular cantata.Robert Cowan.

Johann Hermann Schein wrote a cantata for three parts in 1618, Johann Crüger set it for four voices, two obbligato instruments (violins) and continuo. The hymn appears in several of Johann Sebastian Bach's Christmas cantatas. He inserted its seventh stanza in one of his church cantatas, Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64, written for the Third Day of Christmas 1723.

Bach composed the cantata during his second year in Leipzig for Pentecost Monday. The prescribed readings for the feast day were taken from the Acts of the Apostles, the sermon of Saint Peter for Cornelius (), and the Gospel of John, "God so loved the world" from the meeting of Jesus and Nicodemus (). In his second year in Leipzig, Bach composed chorale cantatas between the first Sunday after Trinity and Palm Sunday, but for Easter returned to cantatas on more varied texts, possibly because he lost his librettist. Nine of his cantatas for the period between Easter and Pentecost are based on texts by Christiana Mariana von Ziegler, including this cantata.

In the field of historically informed performance he has worked with Nikolaus Harnoncourt and took part in the Bach Cantata Pilgrimage of John Eliot Gardiner and the Monteverdi Choir. In 2002, he recorded several cantatas for Pentecost of Gottfried Heinrich Stölzel, conducted by Ludger Rémy, with one voice per part, the four soloists forming the choir. In 2003 he recorded Bach cantatas with Philippe Herreweghe and the Collegium Vocale Gent, Johannette Zomer, Ingeborg Danz and Peter Kooy, including Ach Gott, vom Himmel sieh darein, BWV 2, written for the second Sunday after Trinity of 1724. In 2007, he recorded more Bach cantatas with Herreweghe, Dorothee Mields, Matthew White and Peter Kooy.

Bach took office as Thomaskantor, the music director in Leipzig, end of May 1723. It was part of his duties to supply music for the Sundays and feast days of the liturgical year at four churches of the town, and he decided to compose new cantatas for these occasions. He began with a cantata for the first Sunday after Trinity in 1723, performed on 30 May, and wrote a series of church cantatas until Trinity of the next year, which became known as his first cantata cycle. Some cantatas of that cycle were based on music he had composed before, including ', presented as the sixth cantata of the cycle.

Bach composed the cantata in his second year in Leipzig for the Fourth Sunday after Easter, called Cantate. The prescribed readings for the Sunday were from the Epistle of James, "Every good gift comes from the Father of lights" (), and from the Gospel of John, Jesus announcing the Comforter in his Farewell discourses (). In his second year Bach had composed chorale cantatas between the first Sunday after Trinity and Palm Sunday, but for Easter returned to cantatas on more varied texts, possibly because he lost his librettist. Between Easter and Pentecost Bach´s congregation heard a series of nine cantatas with texts by a new librettist, Christiana Mariana von Ziegler.

The listing is taken from the selection provided on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by green background.

The entries are taken from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performances are marked green under the header .

The entries are taken from the listing on the Bach Cantatas Website. Instrumental ensmbles playing period instruments in historically informed performance are marked by green background.

Bartholomäus Ringwaldt (28 November 1532 – c. 1599) was a German didactic poet and Lutheran pastor. He is most recognized as a hymnwriter. Bartholomäus Ringwaldt (bach-cantatas.

Cantata BWV 249a Entflieht, verschwindet, entweichet, ihr Sorgen on bach-cantatasBach: Entfliehet, Verschwindet, Entweichet / Rilling ArkivMusic Also in 1967 he recorded the bass arias of Bach's St Matthew Passion with Hans Swarowsky, the Vienna Academy Chamber Choir and the Wiener Sängerknaben, the Vienna State Symphony Orchestra, Heather Harper and Kurt Equiluz singing both the vox Christi and the arias.J.S. Bach: Matthäus- Passion on bach-cantatas Jakob Stämpfli recorded Bach cantatas with Karl Ristenpart, also Bach's Magnificat and two of Bach's Missae breves with Maurice André, trumpet. A review of Bach cantatas recorded with conductor Fritz Werner credits his singing: "The magnificent bass aria, ‘Der alte Drache brennt vor Neid’, in which soloist Jakob Stämpfli is accompanied by timpani and no less than three trumpets, is powerfully conveyed; Stämpfli is in commanding form".Johann Sebastian BACH (1685–1750) The Cantatas - Volume 2 review by John Quinn on musicweb.

In 1971, Leonhardt and Harnoncourt undertook the project of recording the complete Bach cantatas; the two conductors divided up the cantatas and recorded their assigned cantatas with their own ensembles. The project, the first cycle on period instruments, ended up taking nineteen years, from 1971 to 1990. In addition, Leonhardt recorded Bach's St Matthew Passion, Mass in B minor, Magnificat, and the complete secular cantatas, as well as the harpsichord concertos, Brandenburg concertos, and most of his chamber and keyboard music; he recorded Bach's Goldberg Variations (three times), Partitas (twice), The Art of Fugue (twice), The Well-Tempered Clavier, French Suites, English Suites (twice), Inventions and Sinfonias, and many other individual works for the harpsichord, clavichord, or organ. To the surprise of some of his associates,Rudolf Rausch, "Gustav Leonhardt" Ad Parnassum: A Journal of Eighteenth and Nineteenth Century Instrumental Music 10(19) April 2012, p.

A list of recordings is provided by Aryeh Oron on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are shown with green background.

The entries are taken from the listing on Bach Cantatas Website. Instrumental groups playing period instruments in historically informed performances are marked green under the header Instr..

The listing is taken from the selection on the Bach Cantatas Website. Instrumental groups playing period instruments in historically informed performances are highlighted green under the header .

The entries are taken from the listing on the Bach-Cantatas website. Instrumental groups playing period instruments in historically informed performances are marked green under the header .

The listing is taken from the selection on the Bach Cantatas Website. Instrumental groups playing period instruments in historically informed performances are highlighted green under the header .

The entries of the following table follow the selection on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by green background.

The entries are taken from the listing on the Bach Cantatas Website. Instrumental groups playing period instruments in historically informed performances are marked green under the header .

Works , and at Bach Digital website. The text of these cantatas was occasionally in dialect (e.g. Peasant Cantata)Work at Bach Digital website. or in Italian (e.g.

The selection is taken from the listing by Aryeh Oron on the Bach-Cantatas website. Green background indicates instrumental groups playing period instruments in historically informed performances.

Stam studied voice at the Sweelinck Conservatory Amsterdam with Erna Spoorenberg, graduated with honours, and continued in master classes with Elly Ameling.Caroline Stam on Bach Cantatas website.

Corder, Frederick. Ferencz (Francois) Liszt. Kegan Paul, Trench, Trubner & Co., 1925 His own compositions included songs, operas and cantatas.“Frederick Corder.” The Musical Times, vol. 54, no.

Michelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect.Dinko Fabris Music In Seventeenth-century Naples: Francesco Provenzale (1624–1704) 2007 "The most important lawyer-composer of cantatas 'in lengua napolitana' is Michelangelo Faggioli (1666–1733), celebrated author of ...". A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706.

In addition to the works of Bach, Koopman has long been an advocate of the music of Bach's predecessor Dieterich Buxtehude. He had previously recorded the keyboard works for Philips Classics and several cantatas for Erato. He was elected president of the "International Dieterich Buxtehude Society" in 2004. Following the completion of the Bach cantatas project Koopman then embarked on a recording of the complete works of Buxtehude.

Academic cantatas are two cantatas for university graduation ceremonies by Jean Sibelius. He composed a Cantata for the University Graduation Ceremonies of 1894, and a Cantata for the University Graduation Ceremonies of 1897, both scored for soprano, baritone, mixed chorus, and orchestra. One movement of the 1894 work was published as Juhlamarssi. Only the vocal score of the 1897 work survived, published as Nine Songs for Chorus, Op. 23.

From 1723 until his death in 1750 Bach was employed as in Leipzig: the bulk of his around 20 extant secular cantatas originated in this period.Terry 1933, p. 97 Bach's earliest known secular cantata on a libretto by Picander dates from 1725. Bach wrote or re-staged at least 36 secular cantatas in the last 25 years of his life, and around half of these were on librettos by Picander.

He notes aspects of the music which are similar to movements in Bach's early cantatas, suggesting that they may have been composed already when Bach moved to Weimar in 1708: the psalm verses resemble movements of cantatas such as , and , the dialogue of the Soul and Jesus (movement 8) is reminiscent of the , and the hymn in motet style (movement 9) recalls movements 2 and 5 of the chorale cantata .

Distinguishing features of the cantatas include fugal movements with advanced technique, but for the most part the music builds on styles and techniques quite common at the time.

The entries to the following listing are taken from the selection on the Bach Cantatas Website. Instrumental groups playing period instruments in historically informed performances are marked green.

Modern edition: Georg von Bertouch, Three Sacred Cantatas, ed. Michael Wilhelm Nordbakke, Recent Researches in the Music of the Baroque Era 151 (A-R Editions: Middleton, WI, 2008).

Re-issued as WVH 071 Erasmus. Compact Disc. Héraclite et Démocrite on "French Cantatas." With Jennifer Smith, soprano; Thierry Félix, baritone; Les Musiciens du Louvre; Marc Minkowski, conductor.

The entries of the table are taken from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed performance are marked by green background.

Caldara is best known as a composer of operas, cantatas and oratorios. Several of his works have libretti by Pietro Metastasio, the court poet at Vienna from 1729.

34: Critical Commentary of Series I: Cantatas of the New Bach Edition. , p. 43.Miles, Russell H. (1962). Johann Sebastian Bach: An Introduction to His Life and Works.

The Opening of the Springs, edited by Vít Zouhar, was published by Bärenreiter in the Bohuslav Martinů Complete Edition volume "Cantatas on Texts by Miloslav Bureš" in 2016.

Joseph Ryelandt also composed secular and sacred cantatas, such as Le chant de la pauvreté Op. 92 in 1928 and Veni creator Op. 123 in 1938. Béla Bartók composed the secular Cantata Profana, subtitled "The Nine Splendid Stags" and based on a Romanian folk tale, in 1930. Although it began as a song cycle (as reflected also by its title), Arnold Schoenberg's Gurre- Lieder (1900–1903/1910–11) evolved into one of the century's largest secular cantatas. Paul Hindemith composed three works he designated as cantatas: Die Serenaden, Op. 35, for soprano, oboe, viola, and cello (1924), Mahnung an die Jugend, sich der Musik zu befleissigen (from the Plöner Musiktage, 1932), and Ite angeli veloces for alto and tenor, mixed chorus, and orchestra, with audience participation (1953–55). Of Anton Webern's last three compositions, two are secular cantatas: Cantata No. 1, Op. 29 (1938–39), and Cantata No. 2, Op. 31 (1941–43), both setting texts by Hildegard Jone.

Bach took office as Thomaskantor, music director in Leipzig, end of May 1723. It was part of his duties to supply music for the Sundays and feast days of the liturgical year at four churches of the town, and he decided to compose new cantatas for these occasions. He began with a cantata for the first Sunday after Trinity in 1723, performed on 30 May, and wrote a series of church cantatas until Trinity of the next year, which became known as his first cantata cycle. The following year, he composed new cantatas for the occasions of the liturgical year, each based on one Lutheran chorale, an effort which became known later as his chorale cantata cycle.

Title page of the 1740s first edition of the Schübler Chorales ''''' ( 'six chorales of diverse kinds, to be played on an organ with two manuals and pedal'), commonly known as the Schübler Chorales (), BWV 645–650, is a set of chorale preludes composed by Johann Sebastian Bach. Johann Georg Schübler, after whom the collection came to be named, published it in 1747 or before August 1748, in Zella St. Blasii. At least five preludes of the compilation are transcribed from movements in Bach's church cantatas, mostly chorale cantatas he had composed around two decades earlier. These six chorales provide an approachable version of the music of the cantatas through the more marketable medium of keyboard transcriptions.

Christoph Graupner was Hofkapellmeister at the court of Hesse-Darmstadt and provided over 1400 cantatas during his nearly 50 years of employment there, making him the most significant contributor to the genre. While only a handful of Bach's cantatas contain accompanied chorales (the vocal parts are usually doubled by the instrumental parts), nearly all of Graupner's chorales feature elaborate ritornello sections.Richard Kram, The Cantata Chorales of Christoph Graupner, 2013 This is possibly due to the fact that Bach's Leipzig congregation was expected to sing along with them, but the Darmstadt court was not. Also, many of Graupner's cantatas exploit elaborate orchestral effects and use exotic instrumentation, such as chalumeau, flûte d'amour, oboe d'amore, viola d'amore, trumpets, horns and timpani.

They were so similar in form to the sacred ones that many of them were parodied (in parts or completely) to sacred cantatas, for example in Bach's Christmas Oratorio.

Richard D. P. Jones notes that the music of the Köthen secular cantatas is abundant in duets in the spirit of opera, with dances in Italian and French style.

Though most of his music is now lost, he composed over 150 church pieces and oratorios, some 200 concertos, two operas, and numerous sinfonias, chamber pieces, and secular cantatas.

The Bach scholar Christoph Wolff notes that the opening duet and also the duet passages on the chorus are in the style of Bach's secular cantatas written in Köthen.

The Choir was joined by members of the world-class period instrument ensemble Instruments of Time & Truth for a powerful performance of the first three cantatas in the cycle.

In 1999 and 2000 Leusink recorded all of Bach's sacred cantatas within 15 months. In 2004, Leusink was honored with the Knight in the Order of the Netherlands Lion.

Sacred music of this period by Bach which doesn't belong to a cantata cycle includes council election cantatas, Passion music for Good Friday, and music for weddings and funerals.

Kitzler Study Book – Facsimile Bruckner composed also five name-day cantatas, as well as two patriotic cantatas, Germanenzug and Helgoland, on texts by August Silberstein. Germanenzug (WAB 70), composed in 1863–1864, was Bruckner's first published work. Helgoland (WAB 71), for TTBB men's choir and large orchestra, was composed in 1893 and was Bruckner's last completed composition and the only secular vocal work that he thought worthy enough to bequeath to the Austrian National Library.

The first festival focused on Bach's early cantatas, including two of his secular cantatas staged in costume, but also presented the world premiere of Nikos Skalkottas's Unaccompanied Violin Sonata. Stravinsky conducted a concert of his own works at the 1964 festival, and the festival went on to present the first UK performances of works by Xenakis, Stockhausen, Ligeti and Messiaen.Kennedy, Michael and Kennedy, Joyce Bourne (1996) "English Bach Festival". The Concise Oxford Dictionary of Music.

This is a partial list of commercial or professional recordings of Johann Sebastian Bach's cantata Christ lag in Todes Banden, BWV 4, organized chronologically. The Bach cantatas fell into obscurity after the composer's death and, in the context of their revival, Christ lag in Todes Banden stands out as being having been recorded early and often; as of 2016, the Bach Cantatas Website lists 77 different complete recordings, the earliest dating from 1931.

Poole, o.c. p. 88ff.Forkel/Terry, o.c. p. 174ff. The three editions of the Bach-Werke-Verzeichnis (BWV) that appeared in the second half of the 20th century gave little attention to the cycles of Bach's cantatas: the principles for assigning BWV numbers, as laid down by Wolfgang Schmieder for the catalogue's first edition in 1950, didn't result in the chorale cantatas being identifiable as a group or cycle in the catalogue.Wolfgang Schmieder, editor.

Christian Friedrich Hunold, the librettist The cantata develops from a sequence of alternating recitatives and arias to a final chorus. This structure is similar to other cantatas Bach composed in Köthen, but it is different from most of his church cantatas, which begin with a weighty choral movement and end with a four-part chorale. All recitatives and one aria are dialogues. The recitatives are secco recitatives, accompanied only by the continuo.

In his first years in Leipzig, starting after Trinity of 1723, Bach regularly composed a new cantata every week, although some of these cantatas were adapted (at least in part) from work he had composed before his Leipzig era. Works from three annual cycles of cantatas for the liturgical calendar have survived. These relate to the readings prescribed by the Lutheran liturgy for the specific occasion. He probably composed his last cantata in 1745.

This is reflected in the recordings discussed below. Ton Koopman, for example, is a conductor who has recorded a complete set of the cantatas and who favours a choir with four singers per part. On the other hand, some modern performances and recordings use one voice per part. Joshua Rifkin is well known is an advocate of this approach, although it has yet to be followed through in a complete set of cantatas.

Bach composed the cantatas and performed them, conducting from the keyboard. The choir was the Thomanerchor, which also served the other main churches of Leipzig for which Bach was responsible. Cantatas, under his personal direction, were performed in the Nikolaikirche and in the Thomaskirche, alternating on ordinary Sundays. On high feast days, the same cantata was performed in the morning in one of these churches, in a vespers service in the other.

The closing chorale, "" (Praise and thanks to God, who did not permit that their maw might seize us.), is a four-part setting with "contrapuntally animated bass and middle voices", similar to the chorales of the Christmas Oratorio, first performed a few weeks before. Wolff summarizes the maturity of Bach's late church cantatas caused by "the experience accumulated by the composer between 1723 and 1729, which lends the later cantatas an especial ripe character".

Thomas recorded Bach's Christmas Oratorio twice, with choir and orchestra of the Detmold Akademy in 1951, and with the Thomanerchor in 1958, with the Gewandhausorchester and soloists Agnes Giebel, Marga Höffgen, Josef Traxel and Dietrich Fischer-Dieskau. He conducted several Bach cantatas with the Thomanerchor in a series Bach Made in Germany, including the first recording of Hermann Prey as the bassist in Ich will den Kreuzstab gerne tragen, BWV 56, and several secular cantatas.

Bach worked for the court in Weimar from 1708. As part of his work at previous posts, he had composed cantatas, but at Weimar he was at first mainly occupied with other projects. In 1713 he was offered a post at the Marktkirche, a church in Halle, but was offered inducements to stay on at Weimar. He received a promotion on 2 March 1714 which resulted in him composing cantatas on a monthly schedule.

She was a member of the Theater Münster from 1958 until 1960, the Stuttgart Opera, from 1966 the opera house of Nürnberg, and she returned to Stuttgart in 1975, singing there until 1983. Hellmann frequently performed the contralto part in the recordings of Bach's cantatas, his Christmas Oratorio and his Easter Oratorio with the Heinrich-Schütz-Chor Heilbronn, the Pforzheim Chamber Orchestra and Fritz Werner.Fritz Werner & Heinrich-Schütz-Chor Heilbronn & Pforzheim Chamber Orchestra, bach-cantatas.

Marjon Strijk is a Dutch classical soprano. She is focused on Renaissance and Baroque music. She has recorded Bach cantatas with the Holland Boys Choir, conducted by Pieter Jan Leusink.

Héraclite et Démocrite on "Baroque Cantatas at Versailles." With D'Anna Fortunato, mezzo-soprano; John Ostendorf, bass- baritone; Brewer Ensemble, on original instruments; Rudolph Palmer, conductor. SR-182 Spectrum. LP record.

He also wrote several ballets, oratorios, cantatas, four operas—La Guerra (1956), Il vortice (1958), Uno sguardo dal ponte (1961), L'Annonce faite à Marie (1970)—, symphonies, chamber music, and songs.

Günter Kochan Günter Kochan (2 October 1930 – 22 February 2009) was a German classical composer. His compositions include cantatas, film scores, orchestral music, songs, symphonies and music for radio dramas.

6 Aug. 2017 (subscription required). In 2011, by which time nearly all Bach's church cantatas had been released, SDG's Bach Cantata Pilgrimage series earned a Gramophone Award for special achievement.

Some cantatas of him were recently published in modern edition.Carlo Francesco Cesarini, Le cantate da camera del ms. 2248 della Biblioteca Casanatense di Roma, ed. by Giacomo Sciommeri, Rome 2014.

Katia Plaschka has been a regular member of Thomas Hengelbrock's Balthasar-Neumann-Chor. She performed among others Bach cantatas in the Konzerthaus Dortmund and Mozart's Idomeneo in the Barbican Centre.

The selection is taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and orchestras playing period instruments in historically informed performances are marked green.

The table entries are excerpted from the list of recordings from the selection on the Bach Cantatas Website. Ensemble playing period instruments in historically informed performances are marked by green background.

Between 1801 and 1804 Gatti helped Mozart's sister, Nannerl to locate unknown pieces by Mozart. He died in Salzburg in 1817. He is famous for writing oratorios, cantatas, sextets and septets.

Her Bach recordings are notable: cantatas with various conductors; the Mass in B minor (1953) with Fritz Lehmann, and the Christmas Oratorio (1955/56) with Lehmann and her husband Gunther Arndt.

William Rhys-Herbert William Rhys-Herbert (1868-1921) was a Welsh composer, conductor, organist and pianist. He composed numerous operettas for performance in schools, and also published songs, partsongs, and cantatas.

Wilke te Brummelstroete is a Dutch mezzo-soprano. She has recorded Bach cantatas with John Eliot Gardiner and appeared as the valkyrie Siegrune in Wagner's Die Walküre at the Bayreuth Festival.

She recorded with Richter and his Münchener Bach-Chor several Bach cantatas, including Allein zu dir, Herr Jesu Christ, BWV 33. She recorded even more Bach cantatas with Helmuth Rilling and his Gächinger Kantorei in their complete recording, including the solo cantata for alto Vergnügte Ruh, beliebte Seelenlust, BWV 170, written for the sixth Sunday after Trinity, which notable singers such as Maureen Forrester and Andreas Scholl had recorded before. With Helmut Winschermann and the Deutsche Bachsolisten she also recorded Bach cantatas including Herz und Mund und Tat und Leben, BWV 147. In 1968 she recorded the St Matthew Passion with Wolfgang Gönnenwein, Theo Altmeyer as the Evangelist, Franz Crass, Teresa Żylis-Gara, Nicolai Gedda, Hermann Prey and Hans Sotin.

Gabriel edited 35 gospel song books, 8 Sunday school song books, seven books for male choruses, six books for ladies, ten children's song books, nineteen collections of anthems, 23 choir cantatas, 41 Christmas cantatas, 10 children's cantatas, and books on musical instruction.Osbeck, Kenneth W. 101 Hymn Stories. Grand Rapids, MI: Kregel Publications, 1982, p. 195. Among these publications are: Gospel Songs and Their Writers (Chicago, Illinois: The Rodeheaver Company, 1915) The Singers and Their Songs (Chicago, Illinois: The Rodeheaver Company, 1916) Church Music of Yesterday, To-Day and for To-Morrow (Chicago, Illinois: The Rodeheaver Company, 1921) Golden Bells (Chicago, Illinois: The Rodeheaver Company, 1923) (music editor) His "Dream of Fairyland" was an exceedingly successful children's cantata, and sold well for several years.

With the Collegium Vocale Gent and Philippe Herreweghe she recorded several Bach cantatas, his Magnificat in E-flat major, BWV 243a, Easter Oratorio and Ascension Oratorio.Herreweghe recordings on bach-cantatas In 2001 she recorded Joseph Schuster's opera Demofoonte on a libretto of Metastasio with La Ciaccona, conducted by Ludger Rémy.Schuster Demofoonte review of the 2001 recording by Johan van Veen, 2003 In 2002 she recorded several cantatas for Pentecost of Gottfried Heinrich Stölzel, a prolific contemporary of Bach, conducted by Ludger Rémy. The soloists, including Jan Kobow, also formed the choir.Cantatas for Pentecost review of the 2002 recording by Johan van Veen, 2005 In January 2003 she sang Monteverdi’s Vespro della Beata Vergine on a tour of with the Collegium Vocale Gent.

The following table is derived from the list on the Bach Cantatas website, which has 81 recordings in 2018. Although some Bach cantatas are almost exclusively recorded in complete cycles by Nikolaus Harnoncourt, Gustav Leonhardt, Helmuth Rilling, Ton Koopman, Pieter Jan Leusink, John Eliot Gardiner and Masaaki Suzuki, the expressive singing required by the soloist has interested singers (and ensembles) who do not specialize in Bach. This cantata has been combined with two other cantatas on related topics: Ich habe genug, BWV 82 (a paraphrase of the Song of Simeon) and Der Friede sei mit dir, BWV 158, related to peace. In the table, choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed performances are marked in green.

Other projects to record all sacred cantatas in historically informed performance were completed by Ton Koopman, John Eliot Gardiner, Pieter Jan Leusink and Masaaki Suzuki. Sigiswald Kuijken began to record a cycle of cantatas for the Complete Liturgical Year with an OVPP choir and historic instruments, the ensemble La Petite Bande. In the following table, green background indicates an ensemble playing period instruments in historically informed performance. The year is of the recording, then of a release if different.

Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice". In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist.

The bulk of the composer's sacred music, including almost all of his church cantatas, was written for such occasions. His other church music, such as sacred cantatas for weddings and funerals, and most, if not all, of his motets, was not tied to the liturgical calendar. Among around 15 extant compositions which at some point or another were designated as a motet by Bach (BWV 118, 225–231, 1083, 1149, Anh. 159–165),Instrumental and Supplement at , p.

Much of his posterity is dependent upon published editions of his works. About 90 of his sacred cantatas still exist, out of a total of more than 400. The destroyed material also included 24 masses and at least six complete cycles of cantatas for the Lutheran church year. Erlebach also composed secular vocal music and song, included in a 1697 published collection titled "Harmonische Freude musicalischer Freunde", Digital Text of Book which contains over 75 such pieces.

After Trinity of 1725 Bach began a third annual cycle, but with less consistency. The first cantata is written for the ninth Sunday after Trinity, but the following year he added a substantial work for the first Sunday after Trinity. The cycle extends over several years, although the cantatas from 1727 have been termed as "between the third and fourth cycles".Tatiana Shabalina "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach’s Cantatas" pp.

The cantata was a collaboration between Root and Bradbury musically, with text by Fanny Crosby and C.M. Cady. He also composed various sacred and secular cantatas including the popular The Haymakers (1857). Root's cantatas were popular on both sides of the Atlantic throughout the 19th century. His first cantata, The Flower Queen: or The Coronation of the Rose, was composed in 1851 with libretto by Fanny Crosby, and gained immediate success in singing schools across the United States.

In Köthen, Bach found an employer who was an enthusiastic musician himself. The court was Calvinist, therefore Bach's work from this period was mostly secular, including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos. He composed secular cantatas for the court for occasions such as New Year's Day and the prince's birthday, including . He later parodied some of them as church cantatas without major changes, for example .

The closing chorale is stanza 5 of Elisabeth Cruciger's "", intensifying the prayer, on a melody from the Lochamer- Liederbuch. Stylistic comparisons with other works by Bach suggest that the same poet wrote the texts for both audition cantatas and also for the two first cantatas which Bach performed when taking up his office. The poetry for the second aria has an unusually long first section, which Bach handled elegantly by repeating only part of it in the da capo.

8 are examples of such cantatas, the oldest of which were composed on a libretto by Christian Friedrich Hunold. Up to this point Bach's secular cantatas are generally in the Serenata format, lighthearted music with allegorical characters conversing about the excellence of the employer, and expressing their best wishes. "Introduction", pp. 9ff. A secular wedding cantata, BWV 202, an Italian cantata (BWV 203), and the secular model for the Störmthal cantata BWV 194 probably originated around the same period.

In 2006 she performed in Bach's St John Passion with the Tafelmusik Baroque Orchestra in Canada.Dorothee Mields on bach-cantatas She sang the soprano part in the recording of Bach's Mass in B minor with Jos van Veldhoven.Mass in B minor BWV 232 Conducted by Jos van Veldhoven, V-2, on bach-cantatas She recorded songs of John Dowland with the gambist Hille Perl in 2008, and Love Songs of Henry Purcell with the Lautten Compagney Berlin.

Johann Sebastian Bach had been a in Köthen since 1717. During his employment by Prince Leopold there, which lasted until 1723, he composed mostly secular music. The vocal music he composed in Köthen nearly exclusively consisted of secular cantatas on librettos by Christian Friedrich Hunold, who published such texts under the pen name Menantes. Bach's secular cantatas of this period are often congratulatory serenatas for occasions such as New Year and the birthday of the Prince.

Neumeister was an influential writer of texts for cantatas. He was a pioneer of the use of a format using recitative and aria, which was new in religious music, but established in secular cantatas and baroque opera. This gave scope to carry over techniques from the world of secular music, and the texts were set by Johann Philipp Krieger, the kapellmeister at Weissenfels, and other composers, notably Bach. Other cantata librettists in this genre included Georg Christian Lehms.

There is no evidence either way to indicate the authorship of the cantata's text. Along with other early cantatas, Gott ist mein König is of a pre-Neumeister character, not featuring the combination of recitative and arias found in later cantatas. The organ in the Marienkirche, Mühlhausen The service was held on 4 February 1708 in the Marienkirche, the town's largest church. The score indicates that Bach deployed his musicians in different locations in the building.

Autograph title page of the early cantata With short movements that flow into each other, the cantata shows typical characteristics of traditional 17th-century cantatas. Unlike other early cantatas, it has no instrumental introduction. John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000 and performed this cantata in the Mühlhausen church where Bach was organist, notes: A model for such "theatrical splendour" were oratorios by Dieterich Buxtehude, performed in Bach's presence at the Lübeck in 1705.

In 1722, he led the cello in the opera orchestra, displacing the bass viol. In 1733 he received French citizenship. He died in Paris. Frontispiece of the first edition of Stuck's cantatas.

Uta Wald, essay in booklet to CD Baroque Bass Cantatas from Central Germany cpo 2007 Roemhildt was court kapellmeister to Heinrich Duke of Saxony (1661–1738) at Merseburg, where he later died.

Bach Cantatas. Retrieved on 2012-08-29. In addition to playing piano Martinus also started composing at an early age and played the organ in a church by age twelve.Brower 1917, pg.

The entries are taken from the selection on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are highlighted green.

Georg Philipp Telemann composed two cantatas, both on a libretto by Erdmann Neumeister, in 1722 and 1758. Several composers wrote organ preludes, including Dieterich Buxtehude, Johann Hermann Schein and Jan Pieter Sweelinck.

As a composer Zeckwer was active mainly in smaller forms, producing many songs and chamber pieces; in larger forms he composed a symphonic poem, a piano concerto, an opera, and numerous cantatas.

The time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The continuo, played throughout, is not shown.

The selection is taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are markeded green.

A list of recordings is provided by the Bach Cantatas Website. Choir with one voice per part (OVPP) and ensembles playing period instruments in historically informed performance are marked by green background.

Better known chorale harmonisations are also contained in other volumes of series I (cantatas), II (Passions and oratorios) and V (e.g. BWV 299 as contained in the Notebook for Anna Magdalena Bach).

The entries of the following table are taken from the list of recordings is provided by Bach Cantatas Website. Ensembles playing on period instruments in historically informed performance are marked by green background.

He had written music like this before in Weimar cantatas, for example the opening of the cantata for Pentecost , and he would use it again in compositions in Leipzig, both secular and sacred.

Christmas cantatas often deal with the Annunciation. It features prominently in both Bach's Und es waren Hirten in derselben Gegend, Part II of Bach's Christmas Oratorio, and in Part I of Handel's Messiah.

The selection is taken from the listing of the Bach Cantatas Website. Choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed performances are marked by green background.

The selection is taken from the listing on the Bach Cantatas Website. Vocal ensembles with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked green.

Along with hymns, oratorios, cantatas and other religious music, chamber music of the Western tradition remains an important part of Barbadian music through an integral role in the services of the Anglican church.

His other compositions include 3 piano forte sonatas, 3 oratorios, 11 cantatas, 5 masses, 2 Te Deums, a Stabat mater, a Salve regina, a Tantum ergo, numerous motets, and several other sacred works.

Carlo Caproli or Caprioli ( – 1668),Affortunato 2008, . also called Carlo del Violino, was an Italian violinist, organist, and a leading composer of cantatas in mid-17th-century Italy.Caluori 2001.Sadie 1990, p. 59.

Title page Harmonia Caelestis is a cycle of 55 sacred cantatas attributed to the Hungarian composer Paul I, 1st Prince Esterházy of Galántha (1635–1713) and published in 1711. They are in the Baroque style and incorporate traditional Hungarian and German melodies. Each of the cantatas consists of one movement. They are composed for solo voices (the majority for one solo voice, although there are some duets), choir, and orchestra (including violas, violone, harp, bassoon, theorba, violins, flutes, trumpets, organ, timpani).

Possibly the idea for writing a series of chorale cantatas was inspired by the bicentennial anniversary of the first publications of Lutheran hymnals (1524). The first of these early hymnals is the Achtliederbuch, containing eight hymns and five melodies. Four chorale cantatas use text and/or melody of a hymn in that early publication (BWV 2, 9, 38 and 117). Another 1524 hymnal is the Erfurt Enchiridion: BWV 62, 91, 96, 114, 121 and 178 are based on hymns from that publication.

These also include cantata text not usable in a Leipzig context (cantatas for the periods of Advent and Lent when in Leipzig a tempus clausum was observed), and cantatas for occasions not occurring in the period for which the cycle was planned (e.g. Christmas I and Epiphany VI). The start of the cycle was exceptional: the publication opened with a libretto for St. John's Day, 24 June 1728, followed by a cantata text for Trinity V, which in 1728 fell on 27 June.

Gottfried Heinrich Stölzel wrote cantatas such as Werdet voll Geistes (Get full of spirit) in 1737.Cantatas for Pentecost review of the 2002 recording by Johan van Veen, 2005 Mozart composed an antiphon Veni Sancte Spiritus in 1768. Olivier Messiaen composed an organ mass Messe de la Pentecôte in 1949/50. In 1964 Fritz Werner wrote an oratorio for Pentecost Veni, sancte spiritus (Come, Holy Spirit) on the sequence Veni Sancte Spiritus, and Jani Christou wrote Tongues of Fire, a Pentecost oratorio.

Bach used several stanzas of the penitential hymn. His settings are based on the Zahn No. 4486 hymn tune, that is one of the melodies composed for "Wenn mein Stündlein vorhanden ist". , one of his early cantatas is a setting of Psalm 130, containing two stanzas of the hymn which are juxtaposed in the manner of a chorale fantasia with an aria. He used a stanza for , and he based , one of his chorale cantatas, on the complete, partly rephrased hymn.

Each part is a sequence of an opening movement, five movements with alternating recitatives and arias, and a chorale. In an exemplary way both cantatas cover the prescribed readings: starting with a related psalm from the Old Testament, Part I reflects the Gospel and Part II the Epistle. Bach did not follow any strict scheme but composed as he wanted to express the words. A few cantatas are opened by an instrumental piece before the first chorus, such as the Sinfonia of .

Bach's oratorios can be considered as expanded cantatas. They were also meant to be performed during church services. Distinct from the cantatas, a narrator, the Evangelist, tells a story in the exact Bible wording, while soloists and the choir have "roles" such as Mary or "the shepherds", in addition to reflective chorales or arias commenting on the story. The St Matthew Passion and the St John Passion were intended to be performed on Good Friday, before and after the sermon.

Late May 1723 Bach took office as Thomaskantor (Kantor at St. Thomas) and director musices (music director) in Leipzig. He remained in that office until his death in 1750. From the first Sunday after Trinity in 1723, that year falling on 30 May, to Trinity Sunday of the next year he presented a series of church cantatas known as his first cantata cycle. The cantatas of that cycle were often based on music he had composed before his Leipzig period.

With Harmonie Universelle, Deuter has recorded works by Georg Philipp Telemann, Johann Friedrich Fasch, Johann Pachelbel, Jean-Marie Leclair, Antonio Vivaldi and Arcangelo Corelli, sonatas by Johann Sebastian Bach and cantatas by Giovanni Battista Ferrandini among others. In 2008 they released a double album of Vivaldi violin concerti."Vivaldi Concerti - Florian Deuter", Biberfan, 2 March 2009, retrieved 15 September 2020. In 2018, with the soprano Dorothee Mields, they released Lass mein Herz, a recording of overtures and cantatas by Christoph Graupner.

There are five surviving cantatas for the Ratswechsel at Leipzig, and librettos of three more, BWV Anh. I 3, 4 and 193. The other four extant cantatas are Ihr Tore zu Zion, BWV 193, composed for the occasion in 1727 but partly lost, Wir danken dir, Gott, wir danken dir, BWV 29, composed for the occasion in 1731, Gott, man lobet dich in der Stille, BWV 120, adapted from earlier cantatas for wedding and homage probably in 1742, and Lobe den Herrn, meine Seele, BWV 69, adapted from Lobe den Herrn, meine Seele, BWV 69a, for the occasion in 1748. The text was written by an unknown librettist who included psalm verses (from Psalms 147, 85 and 126) and lines from Martin Luther's German Te Deum "Herr Gott, dich loben wir".

Brich dem Hungrigen dein Brot, BWV 39, the cantata for the first Sunday after Trinity in 1726, which is the first cantata of his fourth year in Leipzig, composed halfway through his third cycle On Trinity Sunday 27 May 1725 Johann Sebastian Bach had presented the last cantata of his second cantata cycle, the cycle which coincided with his second year in Leipzig. As director musices of the principal churches in Leipzig he presented a variety of cantatas over the next three years. New cantatas for occasions of the liturgical year composed in this period, except for a few in the chorale cantata format, are known as Bach's third cantata cycle. His next cycle of church cantatas, the Picander cycle, did not start before St. John's Day 24 June 1728.

The Bach scholar Klaus Hofmann notes that the work, unusually popular among Bach's church cantatas, is unique in the demanded virtuosity of the soprano and trumpet soloist, and evidences "overflowing jubilation and radiant beauty".

He also wrote secular music, including 142 solo cantatas (one of the commonest secular vocal forms in late 17th century Italy), and some instrumental music including sonatas and sinfonias for a variety of instruments.

Nonetheless Bach would have had more singers available at Leipzig, for example, while the space in the court chapel in Weimar was limited. One size of choir probably does not fit all the cantatas.

Spitta 1992 Vol. I, p. xviii Lane Poole bases the biographical data entirely on Spitta, and adds a chronological list of 200 church cantatas by Bach."The Life of Sebastian Bach" in Chicago Tribune.

In addition to his operas, Leoni wrote several cantatas and oratorios and many ballads and other songs. He also worked as a conductor in London, both in the concert hall and in the theatre.

The listing is taken from the selection on the Bach Cantatas Website. Choirs singing OVPP (one voice per part) and instrumental groups playing period instruments in historically informed performances are marked by green background.

The following entries are taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed performances are marked by green background.

The listing is taken from the selection on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.

The entries for the table are taken from the selection on Bach Cantatas Website. Groups with one voice per part (OVPP) and ensembles playing period instruments in historically informed performance are marked by green background.

John Willard Peterson (November 1, 1921 – September 20, 2006) was a songwriter who had a major influence on evangelical Christian music in the 1950s through the 1970s. He wrote over 1000 songs, and 35 cantatas.

A pupil of Louis Spohr and Moritz Hauptmann, he was from 1823 music director in Bielefeld and from 1830, the municipal director of music in Utrecht. He wrote cantatas, overtures, motets and a chant textbook.

In a comparison of the two cantatas Fasolo's versionRecorded on Il Fasolo, dir. Dumestre Alpha 2004 is "languid and melancholy", while Manelli's versionRecorded on Provenzale et al. Dialoghe. Cappella della Pietà de' Turchini dir. Florio.

Du Grain's surviving works include a small number of sacred cantatas and three concertos for harpsichord and strings. It is likely that most of his output has been lost, or is yet to be discovered.

He died in Schwerin. Hertel wrote a great number of symphonies, solo concertos, harpsichord sonatas, songs, hymns, cantatas, and oratorios. He is considered an important representative of the 'emotional style' of the German pre-classic.

Bach used single stanzas of the hymn additionally in cantatas BWV 12, BWV 69a, BWV 75 and BWV 144, In Theodor Fontane's novel Frau Jenny Treibel, Rodigast is mentioned as a devout poet and teacher.

Former Wandsworth School choir Bach Cantatas Website. In 1927 it moved to a new building in Sutherland Grove in Southfields, and became known as Wandsworth School.Wandsworth School Prospectus. Published by Inner London Education Authority 1969.

The listing is taken from the selection on the Bach Cantatas Website. Vocal groups with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.

Berlioz's stay in Italy as a result of winning the prize also had a great influence on later works such as Benvenuto Cellini and Harold en Italie. The composer subsequently destroyed the scores of two cantatas (Orphée and Sardanapale) almost completely and reused music from all four of them in later works. There was a revival of interest in the cantatas in the late 20th century, particularly La mort de Cléopâtre, which has become a favourite showcase for the soprano and mezzo-soprano voice.

Based on the results of research by Joshua Rifkin and Andrew Parrott on the authentic performance of Bach's masses, cantatas and passions, Sigiswald Kuijken limits the vocal part to a solo vocal quartet (which Bach himself sometimes extended to eight singers) instead of a choir. He also reduced the number of instrumentalists performing each cantata. Sigiswald Kuijken adopted this approach in his recording for Accent Records of a 19-part CD series entitled Cantatas of JS Bach (being recorded over the period of 2004–2012).

2, pp. 121 ff, 107 ff, He also wrote cantatas for Johann Ernst Galliard, as well as the opera Calypso and Telemachus. This had an introduction that repeated much the same points as the earlier preface to the cantatas, with the addition of a vigorous commendation by Topham Foot asserting that, with the advent of "our own British Muse", ::Th'Italian opera sure will quit the Stage ::And Charms Superior fix the flutt'ring Age. ::Musick and Verse no longer disagree, ::Nor Sense is now a Foe to Harmony.

From 1981 to 1983 he was a harpsichord instructor at the Staatliche Hochschule für Musik in Duisburg, Germany. In 1983 he returned to Japan, where he began teaching at Kobe Shoin Women's University. In 1990 he founded Bach Collegium Japan, a baroque orchestra and chorus. The group began giving concerts regularly in 1992, and made its first recordings three years later, when they began recording Bach's complete cantatas for the Swedish label BIS Records. They completed the 55-volume series of church cantatas in 2013.

Tanzende Luftgeister review in Die Zeit, 11 March 2010 (in German) She was soprano soloist for two concerts of the Bachchor Mainz reviving church cantatas of Wilhelm Friedemann Bach in June 2010, remembering the composers birth in 1710.Wilhelm Friedemann Bach (1710-1784) Aufführung wiederentdeckter Kantaten (Performance of re-discovered cantatas), Bachchor Mainz, 2010 (in German) In 2016 she performed an evening of English Mad Songs, by Purcell and his contemporaries, with the Lautten Compagney at Eberbach Abbey as part of the Rheingau Musik Festival.

A collection of cantatas published in 1646 describes him as musician to Cardinal Antonio Barberini, and Giacomo Antonio Perti in 1688 speaks of him along with Carissimi and Cesti as "the three greatest lights of our profession." Rossi is noteworthy principally for his chamber-cantatas, which are among the finest that the 17th century produced. A large quantity are in manuscripts in the British Library and in Christ Church Library, Oxford. La Gelosia, printed by F. A. Gevaert in Les Gloires d'Italie, is an admirable specimen.

Until recently the librettist was unknown (as for most of Bach's Leipzig cantatas), but research by Christine Blanken published in 2015 suggests that Christoph Birkmann probably wrote the text of . Birkmann was a student of mathematics and theology at the University of Leipzig from 1724 to 1727. During that time, he also studied with Bach and appeared in cantata performances. Birkmann published a yearbook of cantata texts in 1728, Gott-geheiligte Sabbaths-Zehnden (Sabbath Tithes Devoted to God), which contains several Bach cantatas – including .

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, in 2007 The music for this early cantata uses motet style in the choral movements. Biblical words are used in a prominent way. They are treated in choral movements, different from other cantatas of the Weimar period where they were typically composed as recitatives. John Eliot Gardiner, who conducted all of Bach's church cantatas in 2000 as the Bach Cantata Pilgrimage, termed the cantata "one of the most extraordinary and inspired of Bach's vocal works".

Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. This Sunday occurs only when Easter is early. The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (), and from the Gospel of Matthew, the parable of the Ten Virgins (). The hymn in the first publication, 1599 Bach composed this cantata to complete his second annual cycle of cantatas of 1724/25, a cycle planned to be of chorale cantatas.

Dürr wrote standard works on the Bach cantatas (1971) and on The Well-Tempered Clavier, which are of interest not only to specialists, but also to the general public.Johann Sebastian Bach / A Listener's Guide to the Cantatas Books and references In 1957 he published in the Bach-Jahrbuch Zur Chronologie der Leipziger Vokalwerke J. S. Bachs. In 1988 his book on Bach's St John Passion, Die Johannes-Passion von Johann Sebastian Bach, he explored theological aspects as well as the four versions of the work.

The cantata has features of a chorale cantata although it was written a year before Bach's annual cycle of chorale cantatas. Bach used an aria as the base of the ' of his Missa in G major.

Kreile has recorded with the Dresdner Kreuzchor music written for Dresden, such as cantatas for Pentecost and a St John Passion which his predecessor the 15th Kreuzkantor Gottfried August Homilius composed for the Frauenkirche in Dresden.

Several critics have noted the light boyish qualities of her voice.. J.A.S. Review of Carissimi oratorios.Gramophone November 1990 p.129John Quinn Review of Bach Cantatas, Musicweb InternationalL.S. Review of St John Passion, Gramophone February 1987, p.

The keys and time signatures are taken from the book on all the Bach cantatas by the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.

Roger William Jones (born 1948) is an English musician and composer of Church music. Alongside writing cantatas and hymn tunes he leads workshops and conducts performances of his works both around the UK and other countries.

1984), is also a tenor. In 2018, Christoph Prégardien recorded his first cd as a baritone singer, performing cantatas by Bach and Telemann.Cantatas for Baritone, Christoph Prégardien, Vox Orchester, Lorenzo Ghirlanda (cond.), Deutsche Harmonia Mundi, 2018.

Yumiko Kurisu is a Japanese classical soprano, a musicologist and an academic teacher. She has recorded cantatas by Johann Sebastian Bach with the Bach Collegium Japan, both as a soloist as a member of the ensemble.

Yella Pessl (originally Gabriella Elsa Pessl; January 5, 1906 – December 9, 1991"Yella Pessl (Harpsichord)" Bach Cantatas Website. Retrieved February 27, 2019.) was an Austrian-born harpsichordist, pianist and organist, resident in the USA from 1931.

The table below is taken from the selection on the Bach Cantatas Website. Performing groups singing one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.

A pinnacle of baroque choral music, (particularly oratorio), may be found in George Frideric Handel's works, notably Messiah and Israel in Egypt. While the modern chorus of hundreds had to await the growth of Choral Societies and his centennial commemoration concert, we find Handel already using a variety of performing forces, from the soloists of the Chandos Anthems to larger groups (whose proportions are still quite different from modern orchestra choruses): Lutheran composers wrote instrumentally accompanied cantatas, often based on chorale tunes. Substantial late 17th-century sacred choral works in the emerging German tradition exist (the cantatas of Dietrich Buxtehude being a prime example), though the Lutheran church cantata did not assume its more codified, recognizable form until the early 18th century. Georg Philipp Telemann (based in Frankfurt) wrote over 1000 cantatas, many of which were engraved and published (e.g.

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, in 2007 The cantata text does not tell a story but reflects different aspects of the Holy Spirit, celebrated on Pentecost. It begins with general praise, then concentrates on one line from the Gospel, addresses the Holy Trinity, refers to the Spirit that was present at the Creation, shows a dialogue between the Soul and the Spirit, and concludes with a stanza from Nicolai's hymn which picks up the topic of unity between God (Spirit) and man, as shown in the dialogue. The text thus proceeds from general to more and more personal and intimate reflection. John Eliot Gardiner, who conducted all Bach's church cantatas in 2000, placed the Pentecostal cantatas in the middle of the project, which he saw as a "year-long exploration of his cantatas in their seasonal context".

Halsey was born in London in 1929Bach Cantatas. Retrieved 26 June 2017Robert Evans, Maggie Humphrey, eds., Dictionary of Composers for the Church in Great Britain and Ireland. Retrieved 26 June 2017 (or 1926 according to some sources).

Yukari Nonoshita is a Japanese classical soprano, appearing in opera and concert. She has recorded many cantatas by Johann Sebastian Bach with the Bach Collegium Japan, both as a soloist and as a member of the ensemble.

Christoph Birkmann (1759) Christoph Birkmann (10 January 1703 – 11 March 1771) was a German theologian and minister. A pupil of Johann Sebastian Bach, he has been identified as the author of the texts of several Bach cantatas.

The cantata closes with a four-part setting of Spengler's hymn stanza, "" (I pray, o Lord, from the bottom of my heart), It is Bach's first of many to come as the typical conclusion of his cantatas.

' (Praise God! The year now draws to a close),Cantata BWV 28, Bach Cantatas Website BWV28', is a church cantata by Johann Sebastian Bach for the Sunday after Christmas. He first performed it on 30 December 1725.

In his Köthen period, Bach wrote congratulatory cantatas for his new employer, Leopold, Prince of Anhalt- Köthen, usually on the Prince's birthday, or for New Year. BWV 66a, 134a, Anh. 6, Anh. 7, 184a, 173a and Anh.

Martin Krumbiegel (born 1963) is a German classical tenor, conductor and musicologist. A member of the Thomanerchor as a boy, he is mostly active in oratorios, cantatas and vocal chamber music of the 17th and 18th century.

Chorale fantasia is a type of large composition based on a chorale melody, both works for organ, and vocal settings, for example the opening movements of Bach's chorale cantatas, with the chorale melody as a cantus firmus.

He died in Riga. He composed two operas, cantatas, pieces for piano, hymns, songs and also around 210 Ukrainian folk songs. He was also an editor of other composers' work and composed arrangements for other composers' music.

His preference for slow, melodious movements based on singing is particularly noteworthy. Thus a trio sonata published in 1680 bears the movement names Largo - Lento - Grave - Lento - Grave. In addition to instrumental compositions, he created numerous cantatas.

Herman Spielter (April 20, 1860 – November 10, 1925) was an American composer born in Germany who came to the United States in 1880. He wrote cantatas and other works for choir as well as some chamber music.

The entries of the table are taken from the listing on the Bach Cantatas website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.

His text is the first in a group of ten cantatas following the same structure of biblical text – recitative – aria – recitative – aria – chorale. The ten cantatas were dedicated to the 8th to 14th and 21st to 22nd Sunday after Trinity and the second Sunday after Easter. The opening chorus is based on , focused on the examination of the believer's heart by God. The closing chorale is the ninth stanza of Johann Heermann's hymn "" (1630) on the melody of "", which Bach used again in 1724 as the base for his chorale cantata .

The fifth stanza relates to the "", the Paschal Lamb. The sacrificial "blood" ("Its blood marks our doors") refers to the marking of the doors before the exodus from Egypt. The final stanza recalls the tradition of baking and eating Easter Bread, with the "old leaven" alluding again to the exodus, in contrast to the "Word of Grace", concluding "Christ would ... alone nourish the soul." In contrast to most chorale cantatas that Bach composed later in Leipzig, the text of the chorale is retained unchanged, which he did again only in late chorale cantatas.

Portrait of the young Bach (disputed) is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale.

German communist composer Hanns Eisler used Bread and Wine for seven cantatas, written in 1937, while he was staying with Bertolt Brecht in his Danish exile in Svendborg, despite Silone being excommunicated from the official communist movement, and the Second Moscow Trial just taking place. Eisler did not use Silone's text verbally, but extracted his poetry from Silone's prose. When the scores of these cantatas were published in the 1950s in East Germany, Eisler dated their creation to the year 1935, although the novel had been published only in 1936.

Johann Philipp was a prolific composer and supplied the Weißenfels court with countless sacred and secular works, including some 2,000 cantatas, at least 18 operas, trio-sonatas, etc. He also had numerous works by other composers performed at the court, and kept a catalogue of every piece he performed. He actively published his own music: a set of trio sonatas appeared in 1688, to be followed by another, then a collection of music for wind instruments, etc. Unfortunately, numerous works were lost: for instance, of the 2,000 cantatas only 76 are extant.

He has focused on singing in concert and in oratorios. His first concert as a soloist with the Idsteiner Kantorei was in 2011 Fauré's Requiem. In 2014, he appeared at the Hochschule as Nardo in Mozart's opera La finta giardiniera, and at the festival Internationale Maifestspiele Wiesbaden in a concert performance of Domenico Mazzochi's La catena d'Adone. In 2015, he sang the bass parts in Bach cantatas with the Deutscher Kammerchor and Kammerorchester Basel, conducted by Andreas Scholl who also sang two alto solo cantatas, at the great hall of the Alte Oper in Frankfurt.

Later in the 17th century, Northern European composers frequently used cornettini in large scale Masses, cantatas and other sacred music. The cornettino was favoured by the Stadtpfeiffen and composers like Johann Caspar Horn and Matthias Spiegler wrote a significant quantity of consort music featuring the one to three cornettini. It appears that the cornettino continued to be used, primarily in church music and in Stadtpfeiffer bands, in some places in Europe until the late 18th century. Georg Philipp Telemann and Johann Sebastian Bach used the cornettino in several church cantatas.

Diethard Hellmann called the (chorale) of the Christuskirche Bachchor Mainz in 1965 and produced more than 100 cantatas on a weekly basis with the Südwestrundfunk. Fritz Werner started recording with the Heinrich-Schütz-Chor Heilbronn and the Pforzheim Chamber Orchestra a series that they called Les Grandes Cantates de J.S. Bach. The Thomanerchor has sung a weekly cantata during the evening service on Saturday. The cantatas are also regularly performed on Sundays at Holy Trinity Lutheran Church, New York City, under the direction of the Cantor (currently Donald R. Meineke).

BWV 18 is believed to be one of a small number of cantatas which Bach composed at Weimar prior to 1714. Like the later Weimar cantatas, it would have been performed at the Schlosskirche, the chapel of his employers the co-reigning dukes. Bach composed this cantata for the second Sunday before Lent, called Sexagesima. The prescribed readings for the Sunday were taken from the Second Epistle to the Corinthians, "God's power is mighty in the weak" (), and from the Gospel of Luke, the parable of the Sower ().

Bach composed this chorale cantata in Leipzig in 1724. Written for the 21st Sunday after Trinity, it was part of his second annual cycle of cantatas which was planned as a cycle of chorale cantatas, based on prominent Lutheran hymns, for all occasions of the liturgical year. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians, "take unto you the whole armour of God" (), and from the Gospel of John, the healing of the nobleman's son (). The cantata is based on Martin Luther's hymn "", a paraphrase of Psalm 130.

This chorale was traditionally used in Leipzig as a song for weddings. Bach used the text unchanged, while in most of his earlier chorale cantatas the inner stanzas were paraphrased by a contemporary librettist. Bach followed the format of that cycle by composing the outer movements as a chorale fantasia and a four-part chorale setting, but the inner movements as solo works independent of the chorale tune, here a succession of four arias. For the outer movements, he reused earlier compositions from two different cantatas, adding to their orchestration for a festive occasion.

The three later cantatas, written within a few months, employ the organ as an obbligato instrument, possibly because Bach liked the combination of alto voice and organ registrations. A week later, Bach composed the famous cantata for bass solo, , also concluded by a chorale. It is not known if Bach looked for texts suitable for a solo voice, or if texts were "clerically imposed on him", which stressed individual piety and therefore suggested to be treated as solo cantatas. Bach first performed the cantata on 20 October 1726.

Johann Sebastian Bach used the hymn in several cantatas. He composed four-part settings to close cantatas Ihr Menschen, rühmet Gottes Liebe, BWV 167 (1723), Wer Dank opfert, der preiset mich, BWV 17 (1726), Jauchzet Gott in allen Landen, BWV 51 (1730) and Wir danken dir, Gott, wir danken dir, BWV 29 (1731). He set the hymn as a complex motet as movement 2 of his cantata for the Sunday after Christmas, Gottlob! nun geht das Jahr zu Ende, BWV 28, reflecting thanks for a year coming to a close.

He used the complete chorale as the base for one of his chorale cantatas, Gelobet seist du, Jesu Christ, BWV 91, composed in Leipzig for Christmas Day of 1724. He included the sixth and seventh stanzas of the hymn respectively in the first and third cantatas of his Christmas Oratorio (1734). BWV 314, one of his four- part chorale settings of the hymn tune, in D major, and appearing in the Dietel manuscript, was likely also written as part of a Christmas cantata.BWV 314 at Luke Dahn's website.

Johannes Agricola The librettos of the church cantatas presented for the first time in Leipzig during Bach's third to fifth year in that city have a diverse origin. The most substantial group of librettos with a similar structure derives from a 1704 cycle of cantata texts printed in Meiningen, which was used for most of the cantatas presented in the liturgical year 1725–26.Sonn- und Fest-Andachten Uber die ordentlichen Evangelia Aus gewissen Biblischen Texten Alten und Neuen Testaments Und In der Hoch-Fürstl. Sachs. Meining. Hof-Capell Der Heil.

Dürmüller studied violin and voice at the conservatory of Winterthur and took voice master classes with Edith Mathis, Christa Ludwig and Hermann Prey.Jörg Dürmüller on Bach Cantatas website As a concert singer, Dürmüller has appeared as the Evangelist in Bach's Passions and in his cantatas. He took part in the project of Ton Koopman to record the complete vocal works of Johann Sebastian Bach with the Amsterdam Baroque Orchestra & Choir. He is also a soloist in the ongoing project Dieterich Buxtehude – Opera Omnia of the same ensemble to record the complete works of Dieterich Buxtehude.

Te Brummelstroete recorded alto parts in Bach cantatas with John Eliot Gardiner as part of the Bach Cantata Pilgrimage of the Monteverdi Choir. Its Volume I received in 2005 the Gramophone Award Record of the Year (Baroque Vocal). It contains six cantatas in which she sang the alto part, three for the First Sunday after Trinity Sunday, , , and , and three for the Feast of St. John the Baptist and , and . She recorded Bach's St Matthew Passion with Frans Brüggen, and Peter Dijkstra, the Regensburger Domspatzen and the Bavarian Radio chorus and orchestra.

Among his extant compositions are a Brockes Passion of 1725, two Christmas Oratorios, made of cantatas,Stölzel: Christmas Oratorio - Epistle Cantatas on ArkivMusik, review of David Vernier, 2005 and a Deutsche Messe (German Mass), a Lutheran Mass consisting of Kyrie and Gloria, in German, set for four-part choir, strings and basso continuo. Extant instrumental works include four concerti grossi, many sinfonias, and a concerto for oboe d'amore. He also wrote for organ and harpsichord. His five operas, Diomedes (1718), Narcissus, Valeria, Artemisia, and Orion, have not survived.

Margrit Conrad (21 September 1918 – 2 August 2005) was a Swiss contralto in opera and concert. Conrad was born in Lucerne. She studied at the conservatory of Zürich with Ria Ginster. She recorded Bach cantatas with Diethard Hellmann.

Gramann's hymn "Nun lob, mein Seel, den Herren" was set by several composers. Johann Sebastian Bach used it in cantatas and organ preludes, including Gottlob! nun geht das Jahr zu Ende, BWV 28 for the Sunday after Christmas.

Hans Münch (9 March 1893 - 7 September 1983) was a Swiss conductor, composer, cellist, pianist, organist, and music educator of Alsatian birth. His compositional output includes one symphony (premiered 1951), Symphonische Improvisationen (1971), and a number of cantatas.

Root composed songs, cantatas, an operetta,"Vocal Music for Concert Performance". Music for the Nation: American Sheet Music, ca. 1870-1885, Library of Congress website, USA. and other works, including many for use in singing and piano lessons.

Agricola wrote a number of Italian operas, as well as Lieder, chorale preludes, various other keyboard pieces and church music, especially oratorios and cantatas. His reputation chiefly rests, however, on his theoretical and critical writings on musical subjects.

Stradella composed 27 separate instrumental pieces, most for strings and basso continuo, and typically in the sonata da chiesa format. He wrote two cantatas for the regent of Savoy, Se del pianeta ardente and Sciogliete i dolci nodi.

Christmas cantatas have been written on texts in several other languages, such as Czech, Italian, Romanian, and Spanish. Christmas cantata can also mean the performance of the music. Many choirs have a tradition of an annual Christmas cantata.

For the in F major, BWV 233, scored for horns, oboes, bassoon, strings, SATB, and basso continuo,Missae Breves & Sanctus BWV 233–242 on bach-cantatas.com Bach derived most of the six movements from earlier cantatas as parodies.

The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background.

Carolyn Sampson (born 18 May 1974) is an English soprano in opera and concert. Specialising in historically informed performance, she has sung in Masaaki Suzuki's recording project of Bach cantatas and has appeared at the English National Opera.

Gastorius assumed Zöll's position after his death in 1677."Severus Gastorius (Composer)", Bach Cantatas Website. Retrieved 13 September 2012.Markus Rathey, "Severus Gastorius", in: Finscher, Ludwig (Hg.), Die Musik in Geschichte und Gegenwart, Bd. 7, Personalteil, 2. Aufl.

Between 1862 and 1900 Massenet composed eight oratorios and cantatas, mostly on religious subjects.Irvine, pp. 326–327 There is a degree of overlap between his operatic style and his choral works for church or concert hall performance.Irvine, p.

The table entries are excerpted from the list of recordings from the selection on the Bach-Cantatas website. Orchestras playing period instruments in historically informed performance, and vocal ensembles with one voice per part are marked by green background.

Together with Robert King, he went there first as a concert promoter (1690 to 1693) and was thereafter only active as composer. Besides operas, he produced some songs (especially for the Concerts in London), cantatas and numerous hymn tunes.

Attilio Ariosti Attilio Malachia Ariosti (or Frate Ottavio) (5 November 1666 – 1729) was a Servite Friar and Italian composer in the Baroque style, born in Bologna. He produced more than 30 operas and oratorios, numerous cantatas and instrumental works.

Towards the end of 1642, Marazzoli was granted papal permission to travel to Paris with a group of Italian musicians; here he was employed at the court of Anne of Austria, composing chamber cantatas which greatly pleased his patron.

There has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck.

He returned to Paris in 1849 and died there the following year. Piccinni wrote over 200 works for the stage, including 25 comic operas. His genres also included melodrama; ballet; vaudeville airs; cantatas; romances; sonatas; piano-music; and opera.

The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4) and alla breve (2/2). The continuo, playing throughout, is not shown.

Amore traditore).Work at Bach Digital website. Many of the secular cantatas were lost, but for some of these the text and the occasion are known, for instance when Picander later published their libretto (e.g. BWV Anh. 11–12).

Schweitzer points out that is among the works in which Bach carefully marked the phrasing of the parts; others are the Brandenburg Concertos, the St Matthew Passion, the Christmas Oratorio and a few other cantatas, including and , BWV 60.

Georg Christian Lehms, copper engraving c. 1713 Georg Christian Lehms (; 1684 – 15 May 1717) was a German poet and novelist who sometimes used the pen-name Pallidor. He published poetry, novels, libretti for operas, and the texts of cantatas.

The entries of the following table are taken from the listing on the Bach Cantatas Website. For several recordings, the name of the bass soloist is not provided. Ensembles playing period instruments in historically informed performance are marked by green background.

A London County Council plaque unveiled in 1912 commemorates Balfe at 12 Seymour Street, Marylebone. In all, Balfe composed at least 29 operas.Walsh (2008), pp. 184–216 He also wrote several cantatas (including Mazeppa in 1862) and a symphony (1829).

Recordings of the St John Passion are shown as a sortable table of selected notable recordings of Johann Sebastian Bach's St John Passion, BWV 245. The selection is taken from the 241 recordings listed on bach-cantatas as of 2015.

His ensuing second cycle started with a stretch of at least 40 new chorale cantatas, up to Palm Sunday of 1725. A week later, for Easter, he presented a revised version of the early Christ lag in Todes Banden chorale cantata.

It contains features that he used again in later compositions of cantatas, oratorios and his masses, for example movements with three trumpets and timpani in a triple meter for festive occasions, and duets as a symbol of God and man.

He has made a number of recordings as a soloist, playing baroque oboe and related instruments such as the oboe d'amore. His Bach recordings include oboe solos in sets of cantatas conducted by John Eliot Gardiner, Ton Koopman and others.

He took holy orders sometime before his death in Faenza, Italy in 1732. In addition to being a well-known soprano (of the cantabile style, singing mostly chamber music) and voice teacher, Tosi was a composer of several arias and cantatas.

Parker composed hymns, cantatas, oratorios, church music, and works for piano. In addition, he wrote two sets of pedagogical pieces. He wrote works on harmony in 1855 and 1870, and translated Richter's Harmonielehre (Manual of Harmony) into English in 1873.

Ziegler was married to Anna Elisabeth Krüger, with whom he had 5 children. His daughter Johanna Charlotte Ziegler (1725-1782) was a poet and wrote texts for some of Bach's cantatas, A cousin was the composer and organist Christian Gottlieb Ziegler.

Possibly a portrait of the young Bach. Johann Sebastian Bach started composing cantatas around 1707, when he was still an organist in Arnstadt. The first documented performances of his work took place in Mühlhausen, where he was appointed in 1708.

The following lists of works (some marked as questioned) rely mainly on Alfred Dürr's Die Kantaten von Johann Sebastian Bach. Usually the cantatas appear in the year of their first performance, sometimes also for later performances and then in brackets.

His output includes four operas; seven cantatas; two symphonies; concertos for orchestra, and for solo instruments and orchestra including trumpet, clarinet, cello, oboe and horn; chamber- instrument ensembles, including about a dozen string quartets; many songs; and music for films.

"'" ("Christ our Lord came to the Jordan") is a Lutheran hymn about baptism by Martin Luther, written in 1541 and published in 1543. It has been set in many musical compositions, including cantatas and chorale preludes by Johann Sebastian Bach.

Works and at Bach Digital website. Some of the secular cantatas had a plot carried by mythological figures of Greek antiquity (e.g. Der Streit zwischen Phoebus und Pan),Work at Bach Digital website. others were almost miniature buffo operas (e.g.

The penultimate movement is a four-part setting of a chorale stanza: "" (Lord, I hope that you will not leave in any distress). This is unusual for Bach, as typically his church cantatas place the chorale as the final movement.

Bach conducted the cantata's first performance on 27 October 1726. The recital was a week after he had performed another of his solo cantatas, Gott soll allein mein Herze haben, BWV 169, which also (and unusually) ends with a chorale.

Carus, 1984 the motets,Uwe Wolf (editor). Bach, J.L.: Sämtliche Motetten. Carus Verlag, 2002 and a few cantatas (JLB 5, 8 and 9). Facsimiles of several 18th-century manuscripts containing Johann Ludwig Bach's works are available at the Bach Digital website.

His works include 29 operas (including L’Idaspe fedele), sonatas, 7 serenatas, 12 oratorios and more than 200 secular cantatas in addition to assorted sacred music and a small amount of instrumental music. Today he is best known for his recorder sonatas.

The recitative for tenor, "" (The Saviour has come), begins but continues as an , with tenor and continuo imitating one another. This more lyrical style of recitative derives from early Italian operas and cantatas, where it was known as ' – half aria.

The texts of the cantatas were written by his wife, who also painted portraits of former Thomas cantors that can still be viewed today in the rehearsal hall of Thomas alumnates. As Thomaskantor, Schreck was not satisfied with the replacement of historical instruments by modern ones, he led the acquisition or the replica of oboe d'amore, Clarin trumpets and other instruments of the Bach Orchestra. He did not shy from performing the cantatas in their entirety and continued the practice of his predecessor and Bach researcher Rust to give the soprano and alto solo parts to members of the Thomas Choir.

Johann Sebastian Bach included several verses as chorales in his cantatas and based chorale cantatas entirely on them, namely Christ lag in Todes Banden, BWV 4, as early as possibly 1707, in his second annual cycle (1724 to 1725) Ach Gott, vom Himmel sieh darein, BWV 2, Christ unser Herr zum Jordan kam, BWV 7, Nun komm, der Heiden Heiland, BWV 62, Gelobet seist du, Jesu Christ, BWV 91, and Aus tiefer Not schrei ich zu dir, BWV 38, later Ein feste Burg ist unser Gott, BWV 80, and in 1735 Wär Gott nicht mit uns diese Zeit, BWV 14.

Ton Koopman's recording, on which Lisa Larsson sang the solo part, was released a few months later in Vol. 20 of his complete recording of Bach's cantatas. Koopman made a selection of four stanzas of the aria for his recording, with a performance time of 16:52. The first complete recording of BWV 1127, that is, including all 12 stanzas of the aria with a recording time of 48:30, was realised by Masaaki Suzuki, Carolyn Sampson, and the Bach Collegium Japan, and released in January 2006 on the 30th volume of Suzuki's complete Bach cantatas project.

Kurt Equiluz became known for his interpretation of Bach's cantatas and oratorios when was engaged in the recordings of Nikolaus Harnoncourt and Gustav Leonhardt covering the complete vocal works with historical instruments. He was the Evangelist in the first recording of Bach's St John Passion on period instruments with the Concentus Musicus Wien in 1965Johannes- Passion BWV 245 on bach-cantatas and in 1970 the Evangelist in the St Matthew Passion. In 1977 he was the Evangelist in a recording of the St Matthew Passion with De Nederlandse Bachvereniging, conducted by Charles de Wolff, with Max van Egmond as the Vox Christi.

Among Koopman's most ambitious projects was the recording of the complete cycle of all of Bach's cantatas"Ton Koopman and the Bach cantatas", Radio Netherlands Archives, March 19, 1996, a project completed in 2005. This project had started while Koopman was an artist of the French Erato Classics label. However, after 12 volumes (36 CDs) the project was stalled when owner Warner Classics wound up its French subsidiary in 2002. Koopman was able to buy back rights for the first 12 volumes and continue the series in 2003 with his own label Antoine Marchand, distributed by Challenge Classics.

Malherbe was a collector of documents, and acquired, besides thousands of autograph letters, a number of important manuscripts, including the largest extant collection of Beethoven sketches, the autograph scores of Berlioz's Symphonie fantastique, two Rameau cantatas, and several Bach cantatas. He discovered the original orchestral score of Rossini's opera Guillaume Tell at a secondhand book seller's shop. In 1901 he located previously uncatalogued works of Mozart, including a soprano aria from the opera Mitridate, re di Ponto, written at age 14 and an Elegy in F for two sopranos written at age 11. He also owned a number of Liszt manuscripts.

BWV 14, and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn, also published in 1524. Apart from some cantatas composed after Palm Sunday 1725, the chorale cantata cycle and the second cantata cycle overlap, and the two designations are often used interchangeably in scholarly literature. Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725. There are some cantatas that belong to one of both cycles, but not to the other, for instance the chorale cantata for Trinity 1727 replaces the Trinity cantata of the second cycle composed in 1725.

Klaus Mertens took singing lessons while attending school. He studied music and pedagogy, and had his vocal training with Else Bischof-Bornes and Jakob Stämpfli (song, concert, oratorio) and with Peter Massmann (opera). After graduating with distinction he worked first as a school teacher.Klaus Mertens on bach-cantatas, 2009 In the field of historically informed performance, Klaus Mertens has worked with Frans Brüggen, Philippe Herreweghe, René Jacobs, Sigiswald Kuijken, Gustav Leonhardt and Nikolaus Harnoncourt. With various conductors he recorded the works of Bach, not only the Passions and oratorios, but also – very notably – the cantatas, which number around 200.

Upon his return to Britain, Goehr experienced a breakthrough as a composer with the performance of his cantata The Deluge in 1957 under his father's baton. This is a big, ambitious work inspired by the writings of Sergei Eisenstein—one of Goehr's many extra- musical sources of inspiration. The soundworld could be seen to have derived from the twelve-tone cantatas of Webern, but it implicitly strives for the imposing harmonic tautness and full sonority of Prokofiev's Eisenstein cantatas. The genre of the cantata is one that Goehr would explore over and over again throughout his career.

Bach wrote the cantata in 1726 for the Seventh Sunday after Trinity as part of his third cantata cycle. The prescribed readings for the Sunday are from the Epistle to the Romans, "the wages of sin is death; but the gift of God is eternal life" (), and from the Gospel of Mark, the feeding of the 4000 (). During 1726, Bach had performed several cantatas by his cousin Johann Ludwig Bach who worked in Meiningen, from 2 February (Purification) to 30 May (Ascension). The texts for these cantatas came from a 1704 anonymous libretto cycle published in Meiningen.

In his second year as Thomaskantor in Leipzig, Bach composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday of 1725, but for Easter he returned to cantatas on more varied texts. He had not composed a chorale cantata yet for the occasion , the second Sunday after Easter. The prescribed readings for that Sunday were from the First Epistle of Peter (Christ as a model – ), and from the Gospel of John, (the Good Shepherd – ). During the cycle of 1724/25, the text of the inner stanzas of a hymn was paraphrased by a contemporary poet with whom Bach collaborated.

Occasions for Bach's secular cantatas written in Leipzig included Birthdays and name days for successive prince-electors of Saxony and other rulers, and their relatives, of principalities and duchies in Saxony, and similar occasions for academics of the university of Leipzig. Bach wrote sacred cantatas for funerals and weddings: he also wrote a few secular works for such occasions. In his Leipzig period part of Bach's secular cantata production is no longer in the Serenata format, but rather dramma per musica, implying a dramatic plot beyond mythological figures congratulating or paying homage to the person in whose honour the cantata was written.

Bach wrote the cantata in his second year in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. It is part of his second annual cycle of cantatas, a cycle of chorale cantatas. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians – "put on the new man, which after God is created" () – and from the Gospel of Matthew, Healing the paralytic at Capernaum (). The cantata text is based on the hymn in eleven stanzas "" by Johann Heermann, published in 1630, which is recommended for the Sunday in the Dresdner Gesangbuch.

He has recorded frequently with John Eliot Gardiner, including the Bach Passions and Cantatas, B Minor Mass, Monteverdi's Orfeo and L'Incoronazione di Poppea and Handel's Jeptha, Tamerlano and Agrippina. Other conductors he has recorded with include Trevor Pinnock, Frans Brüggen, Ton Koopman and Nicholas McGegan. On his CD for Deutsche Grammophon, “Michael Chance, the Art of Counter-tenor”, he sings solo alto cantatas by Vivaldi with Trevor Pinnock and the English Concert. He took part in the project of Ton Koopman and the Amsterdam Baroque Orchestra & Choir to record the complete vocal works of Johann Sebastian Bach.

' ('Awake, calls the voice to us'), 140', also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. Bach composed this cantata to complete his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas "" (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the parable of the Ten Virgins.

During the later Baroque period, Johann Sebastian Bach and George Frideric Handel used trombones on a few occasions. Bach called for a tromba di tirarsi to double the cantus firmus in some of his liturgical cantatas, which may be a form of the closely related slide trumpet. Bach also employed a choir of four trombones to double the chorus in three of his cantatas (BWV 2, BWV 21 and BWV 38), and also a quartet of three trombones and one cornett in the cantata BWV 25. Handel used it in the Death March from Saul, Samson, and Israel in Egypt.

Johann Sebastian Bach composed the church cantata ' (Soar joyfully upwards), 36', in Leipzig in 1731 for the first Sunday in Advent. He drew on material from previous congratulatory cantatas, beginning with Schwingt freudig euch empor, BWV 36c (1725). The Gospel for the Sunday was the Entry into Jerusalem, thus the mood of the secular work matched "the people's jubilant shouts of Hosanna". In a unique structure in Bach's cantatas, he interpolated four movements derived from the former works with four stanzas from two important Advent hymns, to add liturgical focus, three from Luther's "" and one from Nicolai's "".

The cantata is unique in Bach's church cantatas in its structure of arias combined with chorale instead of recitatives. Performed one week after , it shows Bach's emphasis on the chorale even beyond his second cycle of chorale cantatas, begun in 1724. The opening chorus is opened by a ritornello, dominated by two contrasting motifs: the strings play a short rising figure in triplets, the oboes d'amore play an expansive melody. As in the secular model, the movement is in two similar parts, each consisting of two contrasting sections, "" (Soar joyfully upwards to the exalted stars) and "" (Yet stop!).

Koki Katano (born 1968) is a Japanese tenor. He began singing at the age of seven and later studied for a Master’s at the Tokyo National University of Fine Arts and Music. He joined the Bach Collegium Japan in 1992, and then studied at the Hamburg Conservatory and the Bremen University of Fine Arts in Germany. He has since resided in Germany, where he has gained attention for his cantatas of J.S. Bach’s cantatas, such as Christ lag in Todes Banden, BWV 4, St. John Passion (BWV 245) and Christmas Oratorio (BWV 248) and Handel’s Messiah.

If Stübel was the librettist, his death in January 1725 explains that Bach lacked a competent collaborator. The composer returned to other texts for the remaining liturgical time of Easter, Pentecost and Trinity. The completion of the cycle of chorale cantatas meant so much to him that he included the early chorale cantata for Easter , and in years to come added a few chorale cantatas for occasions that were missing. was chosen by the Bach-Gesellschaft to begin the first volume of Bach's complete works, which the society started in 1850, a century after Bach's death.

Genz has appeared under leading conductors such as Herbert Blomstedt, Giuseppe Sinopoli, Riccardo Chailly, Kurt Masur, Sir Simon Rattle, Nicolaus Harnoncourt, Sir John Eliot Gardiner, Sir Roger Norrington, Ton Koopman, Ingo Metzmacher, Kent Nagano, Ivor Bolton, Markus Stenz, Daniel Harding, Helmuth Rilling, Michail Jurowski, Masaaki Suzuki and others. His discography contains more than 60 CDs and DVDs including operas, concerts, songs and arias. He recorded Bach cantatas with Sir John Eliot Gardiner and sang the tenor roles in La Petite Bande's Complete Bach Cantatas conducted by Sigiswald Kuijken recorded between 2006 and 2011, as well as the St John Passion conducted by Ludwig Güttler, the St Matthew Passion and the Mass in B minor with La Petite Bande conducted by Sigiswald Kuijken. In 2005, he appeared with La Petite Bande in a concert of Bach cantatas at the Rheingau Musik Festival in the Eibingen Abbey, together with Siri Thornhill, Petra Noskaiová and Jan van der Crabben.

He wrote two festival cantatas, the Cantata for the Twentieth Anniversary of the October Revolution, Op. 74, and Flourish, Mighty Homeland, Op. 114, for the thirtieth anniversary of the same event Patriotic cantatas celebrating anniversaries of events in the Revolution or extolling state leaders were frequently commissioned in the Soviet Union between 1930 and the middle of the century, though these occasional works were seldom among their composers' best. Examples include Dmitri Shostakovich's Poem of the Motherland, Op. 47 (1947) and The Sun Shines over Our Motherland, Op. 90 (1952), and three works by Prokofiev, Zdravitsa! [Hail to Stalin] (1939). Dmitry Kabalevsky also composed four such cantatas, The Great Homeland, Op. 35 (1941–42), The Song of Morning, Spring and Peace, Op. 57 (1957–58), Leninists, Op. 63 (1959), and About Our Native Land, Op. 82 (1965). In 1940, the Brazilian composer Heitor Villa-Lobos created a secular cantata titled Mandu çarará, based on an Indian legend collected by Barbosa Rodrigues.

Festing also performed a number of vocal songs and cantatas at Ranelagh, the latter of which resemble those of John Stanley. The Complete Works, some 120, of Michael Christian Festing have been edited by Richard Divall and are freely available on application.

The term was used in operas, cantatas, choral works, and other compositions to refer to three different kinds of singers: adult women, boy sopranos, and castrati. The term is still used by opera composers today when a role requires a child vocalist.

It exists (and is also often called the Evangelist) in earlier works setting biblical narration, for example by Heinrich Schütz (Weinachtshistorie, Matthäuspassion, Lukaspassion, Johannespassion). In contrast, the vox Christi, voice of Christ, is always the bass in Bach's works, including several cantatas.

The work has been recorded often, both by Bach specialists and others. The listing is taken from the selection on the Bach Cantatas Website, which lists 58 recordings . Ensembles playing on period instruments in historically informed performance are marked by green background.

Makoto was graduated Tokyo University of the Arts. He went to study in Italy in 1997, and continue to work there. He has recorded Bach cantatas in the complete set directed by Masaaki Suzuki, and the ongoing series directed by Rudolf Lutz.

Charles de Wolff Charles de Wolff (19 June 1932 – 23 November 2011) was a Dutch organist and conductor. He conducted the Netherlands Bach Society from 1965 until 1983. After 1983 he worked with the Bachkoor Holland.Charles de Wolff (Conductor, Organ) bach-cantatas.

Rauf Dhomi (Albanian: Rauf Domi) (born 4 December 1945) is a Kosovan classical music composer and conductor and a teacher at the University of Pristina. Dhomi is the author of many operas, requiems, masses, cantatas, symphonic music, film scores and theater music.

The entries of the following table are taken from the list of recordings provided on the Bach Cantatas Website. Ensembles playing on period instruments in historically informed performance and a choir of one voice per part (OVPP) are marked by green background.

His notable pupils included Oskar Merikanto,Finnland Institut Aleksander Michałowski (1867–69),Historical Interpretations of Frederick Chopin Works and Algernon Ashton.Bach Cantatas He was the elder brother of the ophthalmologist Ernst Adolf Coccius (1825-1890). He died in Leipzig in 1897, aged 73.

He supervised several doctoral projects (Wulf Konold,Wulf Konold: Secular cantatas in the 20th century. Contributions to a theory of functional music. Möseler, Wolfenbüttel among others 1975, . Karl-Heinz Reinfandt, Bernd Sponheuer among others) and a music-making circle for early music.

Thomas Quasthoff, 2010 Thomas Quasthoff (born 9 November 1959) is a German bass-baritone. Quasthoff has a range of musical interest from Bach cantatas, to lieder, and solo jazz improvisations. Born with severe birth defects caused by thalidomide, Quasthoff is , and has phocomelia.

Harker composed cantatas, anthems, choruses, songs both sacred and secular, and some works for organ. Harker was active as a music editor for G. Schirmer Inc. He edited many choral works, organ pieces, and John Stainer's classic text for organ students, The Organ.

The 200 strong Wandsworth School Boys' Choir was created and developed by Russell Burgess, Director of Music at the School from 1954 until his death at the age of 48 in 1979.School history, Wandsworth School Choir.Russell Burgess biography. Bach Cantatas Website.

The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, sharing features of the operatic arias of their periods. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer.

Klaus Schneider: Hans Stieber. Lebensdaten, Werkverzeichnis, Bibliographie. In Hannoversche Geschichtsblätter, NF 26 (1972) 3/4, , here p. 202f. During his Leipzig years he also composed symphonic works and cantatas, which were performed under the direction of Hermann Abendroth and Paul Schmitz at the Gewandhaus.

When the Schleswig-Holstein war broke out in 1849, Gurlitt became a military band master. His output was prodigious in quantity and breadth, ranging from songs and teaching pieces to operas, cantatas, and symphonies. He was born in Altona, Schleswig-Holstein and died in Altona.

It was recorded in 2016 as part of an album Jauchze du Tochter Zion of Christmas cantatas by Christoph Förster, Gottfried August Homilius, Johann Heinrich Rolle, Stölzel and other, with the Kölner Akademie conducted by Michael Alexander Willens, and soloists Hanna Herfurtner and Carola Günther.

"Vopelius, Gottfried" in Sächsische Biografie, edited by Martina Schattkowsky. Institut für Sächsische Geschichte und Volkskunde, 17 June 2005. For the closing chorales of his cantatas BWV 27 and BWV 43 he used the harmonisation as found in the hymnal.Work at Bach Digital websiteBWV2a (1998), p.

They made world premiere recordings of some cantatas by Bach's oldest son, Wilhelm Friedemann Bach, among other recordings. Otto was professor of choral conducting at the Folkwang Hochschule from 1990 to 2006, when he took the same position at the Hochschule für Musik Mainz.

Salomon (also Salomo) Franck, 6 March 1659 – 11 July 1725), was a German lawyer, scientist, and poet. Franck was working at Weimar at the same time as the composer Johann Sebastian Bach and he was the librettist of some of the best-known Bach cantatas.

Gabriela Moyseowicz has composed a variety of atonal instrumental and vocal works3,7(8). They include piano-, violin- and cello-sonatas, piano concertos, one symphony, one oratorium, cantatas, songs, etc. Tonal compositions include church songs, a capriccio for string orchestra, piano variations and other occasional works.

This work is a late chorale cantata for an unspecified occasion. Bach likely composed and first performed it in Leipzig between around 1734. This is considered one of Bach's latest extant church cantatas. The cantata is based on the hymn "" (1674) by Samuel Rodigast.

Salieri's earliest surviving work is a Mass in C major. He would write four major orchestral masses, a requiem, and many offertories, graduals, vesper settings, and sacred cantatas and oratorios. Much of his sacred music dates from after his appointment as Hofkapellmeister in 1788.

Hans Leo Hassler composed a motet Dixit Maria, setting Mary's consent. Johann Sebastian Bach and others composed cantatas for the feast of the annunciation which was still celebrated in the Lutheran Church at his time, such as Wie schön leuchtet der Morgenstern, BWV 1.

On the other hand the chronology of Bach's cantatas has now become well established by Dürr and Kobayahshi; and no Bach commentators have cast doubt on the final chorale being "borrowed" from Vetter's chorale, published in 1713, "albeit with radical alterations," as Dürr puts it.

Born in Grimma, Dietmann Hellmann was a member of the Thomanerchor. He studied church music in Leipzig with Günther Ramin. Hellmann was the organist for early recordings of Bach cantatas by Ramin. He was Kantor at the Friedenskirche in Leipzig from 1948 to 1955.

Alagian was also for many years general director of the orchestras in Vladicaucas, Georgia and Armenia. His works were performed in Moscow, Tbilisi, Erevan and elsewhere. He composed great poets like Alexander Blok, Robert Rozhdestvensky, Glan Onanian etc. He wrote cantatas, elegies and various songs.

Bach first performed the cantata on 21 May 1724. It is the last original cantata composition of his first annual cycle, followed by reworkings of older music until the beginning of the second annual cycle of chorale cantatas on the first Sunday after Trinity.

Cecil Aronowitz recordings.online.fr In 1965 he recorded Bach's cantatas Herr, deine Augen sehen nach dem Glauben, BWV 102 and Süßer Trost, mein Jesus kömmt, BWV 151 with the English Chamber Orchestra (ECO) conducted by Britten and soloists Janet Baker, Peter Pears and Dietrich Fischer-Dieskau.

The Hong Kong Chamber Orchestra has a wide coverage of repertoire from Bach cantatas, to Mozart overtures and Beethoven symphonies, to Elgar, Brahms, Dvořák, Johann Strauss, to Tchaikovsky and Stravinsky. It also gave the Hong Kong première of Richard Strauss's Metamorphosen in June 2005.

Buwalda studied at the Sweelinck School of Music (Conservatorium van Amsterdam) in Amsterdam and has worked with conductors such as Frans Brüggen, Gustav Leonhardt, Sigiswald Kuijken and Sir David Willcocks. He was the alto soloist for most volumes of Pieter Jan Leusink's recording of the complete sacred cantatas of Johann Sebastian Bach. He embarked upon a successful tour of Japan with Max van Egmond, singing Bach solo cantatas, conducted by Masaaki Suzuki and Yoshio Watanabe. He also toured Holland with actress Ina van Faassen, putting on a production of Il Virtuoso, a theatrical play based upon the bestseller novel de Virtuoos by Margriet de Moor.

In the ten years after that he wrote at least a dozen further chorale cantatas and other cantatas that were added to his chorale cantata cycle. Lutheran hymns, also known as chorales, have a prominent place in the liturgy of that denomination. A chorale cantata is a church cantata based on a single hymn, both its text and tune. Bach was not the first to compose them, but for his 1724-25 second Leipzig cantata cycle he developed a specific format: in this format the opening movement is a chorale fantasia on the first stanza of the hymn, with the hymn tune appearing as a cantus firmus.

The competition for the French Prix de Rome prescribed that each candidate submit a cantata. Hector Berlioz failed in three attempts before finally winning in 1830 with Sardanapale. While almost all of the Prix de Rome cantatas have long since been forgotten (along with their composers, for the most part), Debussy's prize-winning L'enfant prodigue (1884, following his unsuccessful Le gladiateur of 1883) is still performed occasionally today. Late in the century, Gustav Mahler wrote his early Das klagende Lied on his own words, between 1878 and 1880, and Samuel Coleridge-Taylor created a successful trilogy of cantatas The Song of Hiawatha between 1898 and 1900.

Schwarz sang with conductors such as John Eliot Gardiner, Philippe Herreweghe, Peter Schreier, Martin Haselböck, and with ensembles including the Gewandhausorchester and the Dresdner Kreuzchor. He has performed at the Salzburg Festival, the Vienna Musikverein, and in the US, Finland and Japan. He recorded several Bach cantatas with Gardiner as part of the Bach Cantata Pilgrimage. With the Thomanerchor, conducted by Biller, he recorded Bach's cantatas Es erhub sich ein Streit, BWV 19, Gott der Herr ist Sonn und Schild, BWV 79, and Ein feste Burg ist unser Gott, BWV 80, the Mass in B minor and the Vox Christi in the St John Passion.

In the last aria, the trumpet opens the setting and then accompanies the bass in virtuoso figuration, adding splendour to the words "" (My heart believes and loves). The music of the two stanzas of the chorale is identical. The tune is not a simple four-part setting as in most of Bach's later cantatas, but the voices are embedded in a concerto of the orchestra, led by violin I and oboe I. The instrumental theme is derived from the first line of the chorale tune. The sinfonia beginning Part II, rare in Bach's cantatas, is especially remarkable because it is a chorale fantasia on the same chorale melody.

He recorded the St John Passion, the St Matthew Passion and the Christmas Oratorio also with Michel Corboz.Michel Corboz & Lausanne Vocal Ensemble & Chamber Orchestra on bach-cantatas He recorded Bach cantatas also with the Gächinger Kantorei and Helmuth Rilling. With Harnoncourt he recorded works of Claudio Monteverdi, such as his operas L'Orfeo, Il ritorno d'Ulisse in patria, L'incoronazione di Poppea or the Vespro della Beata Vergine 1610. He recorded sacred music of the classical period with the Vienna Choir boys, such as Mozart's Missa solemnis in C minor, K. 139 "Waisenhausmesse", his Coronation Mass, Haydn's Theresienmesse and Schubert's Mass No. 6 in E-flat major, D 950.

Beginning in 1993, Coin conducted and played Bach's ten cantatas with violoncello piccolo within three years at the church of Ponitz, Thuringia, using its 1737 Gottfried Silbermann organ. Some cantatas feature the Leipziger Concerto Vocale, some the Chœur de Chambre Accentus, all the Ensemble Baroque de Limoges and soloists Barbara Schlick, Andreas Scholl, Christoph Prégardien and Gotthold Schwarz, including Jesu, nun sei gepreiset, BWV 41 for New Year's Day. A review notes: "As the piccolo cello soloist the supremely talented Christophe Coin plays with authority displaying exceptional control of phrasing and dynamics". In 2004, he recorded with the Quatuor Mosaiques Haydn's six string quartets Op. 64.

She recorded Bach cantatas with conductors such as Helmuth Rilling, Karl Ristenpart and Kurt Thomas. She was a frequent soloist for the cycle of Bach's cantatas recorded with Fritz Werner conducting the Heinrich-Schütz-Chor Heilbronn and the Pforzheim Chamber Orchestra, including Brich dem Hungrigen dein Brot, BWV 39 with Barbara Scherler and Bruce Abel, a cantata that Bach had written for the first Sunday after Trinity of 1726. In 1957 she recorded Bach's Mass in B minor with Werner and his choir, Helmut Krebs and Franz Kelch. Her repertoire has also included works of Handel, Haydn, Mozart, Brahms, Hans Pfitzner, Arnold Schoenberg and Hans Werner Henze.

The following table is based on the list at the Bach Cantatas website. While the derived Easter cantata was included in the complete recordings of Bach's church cantatas by Nikolaus Harnoncourt and Gustav Leonhardt, Helmuth Rilling, Ton Koopman, Pieter Jan Leusink, John Eliot Gardiner and Masaaki Suzuki, the festive secular cantata dedicated to the specific occasion was recorded only a few times. In the table, ensembles playing period instruments in historically informed performances are indicated by a green background. The first recording was made in 1996, conducted by Wolfgang Unger, who had revived in 1992 the Leipziger Universitätsmusik, ensembles formed by students and teachers of the University of Leipzig.

Bach's early cantatas are "" (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. The Altbachisches Archiv, a collection of 17th-century vocal works, mostly by members of the Bach family, initiated by Bach's father Johann Ambrosius, contained works in the older style. Bach also had some acquaintance with Johann Pachelbel's works, although there is no evidence that Bach and Pachelbel met. Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt.

Bach composed the cantata in his first year as ' in Leipzig for the Tenth Sunday after Trinity, the eleventh cantata of his first cantata cycle. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, different gifts, but one spirit (), and from the gospel of Luke, Jesus announcing the destruction of Jerusalem and cleansing of the Temple (). As with other cantatas Bach composed in his first years in Leipzig, we do not know the identity of the librettist. It is the third in a group of ten cantatas following the same structure of biblical text (in this case from the Old Testament) – recitative – aria – recitative – aria – chorale.

He made his conducting debut at La Scala, Milan, in 1970, leading a production of Monteverdi's Il ritorno d'Ulisse in patria. In 1971, Harnoncourt started a joint project with conductor Gustav Leonhardt to record all of J. S. Bach's cantatas. The Teldec Bach cantata project was eventually completed in 1990 and was the only cantata cycle to use an all-male choir and soloist roster, with the exception of cantatas nos. 51 and 199, which were intended for a female soprano voice. He also made the first recordings in historically informed performance of Bach's Mass in B minor (1968) and St Matthew Passion (1970).

He studied from 1986 with Sigiswald Kuijken and graduated as a soloist three years later. From 1987, he has performed as concertmaster in several Baroque orchestras in Europe and Japan, including Les Arts Florissants, La Chapelle Royale, Collegium Vocale Gent, La Petite Bande and the Tokyo Bach-Mozart Orchestra. He has been concertmaster of the Bach Collegium Japan which is active in the complete recordings of Bach cantatas, conducted by Masaaki Suzuki, playing not only violin, but also viola and viola d'amore. As concertmaster of il Gardellino, he conducted a recording of Bach solo cantatas for bass with Dominik Wörner, such as Ich will den Kreuzstab gerne tragen, BWV 56.

In the light of all these positions, activities, and commitments it is difficult to imagine how Stewart found time for composing music. Yet, he was very prolific in this regard, too. Although he didn't write any symphonies or concertante works for orchestra, he concentrated on vocal music including large-scale cantatas, small-scale glees, songs and a number of organ pieces. His largest works are the cantatas A Winter Night's Wake (1858) and The Eve of St John (1860), the Ode to Shakespeare (1870) for the Birmingham Festival, an Orchestral Fantasia (1872) for the Boston Peace Festival, and the Tercentenary Ode (1892) for the anniversary of Trinity College, Dublin.

Bach composed the cantata in Leipzig in his second annual cycle for the Fifth Sunday after Easter, called Rogate. The prescribed readings for the Sunday were from the Epistle of James, "doers of the word, not only listeners" () and from the Gospel of John, from the farewell discourses of Jesus, "prayers will be fulfilled" (). In his second year Bach had composed chorale cantatas between the first Sunday after Trinity and Palm Sunday, but for Easter returned to cantatas on more varied texts, possibly because he lost his librettist. The cantata is the third of nine for the period between Easter and Pentecost based on texts of Christiana Mariana von Ziegler.

Upon return to Guatemala, she founded the Millennium Ensemble together with Dieter Lehnhoff. With this new group she recorded premieres of a sizable number of villancicos, songs, and cantatas by Manuel José de Quirós, Rafael Antonio Castellanos, Pedro Nolasco Estrada Aristondo, José Eulalio Samayoa, and José Escolástico Andrino. Further recordings included Masses, hymns, and vespers music by Hernando Franco, Pedro Bermúdez, and Gaspar Fernández, as well as orchestral songs by Luis Felipe Arias, Rafael Alvarez Ovalle, and Rafael Juárez Castellanos. At the same time, she has cultivated European baroque and classical repertoire, performing cantatas by Johann Sebastian Bach, arias by Wolfgang Amadeus Mozart, and odes by Henry Purcell.

Unlike in Bach's later cantatas, all movements are in the same key. The cantata begins with an instrumental sinfonia. The seven stanzas are treated in seven movements as chorale variations (for all stanzas), with the melody always present as a . All stanzas end on the word Halleluja.

Wagenaar's compositions include operas, cantatas, organ music, and orchestral works.. donemus.nl The music of Hector Berlioz had a modest influence on his works, but a much more pronounced influence was Richard Strauss. In his later years, Wagenaar received an honorary Doctorate of Music from Utrecht University.

His compositions were intended almost exclusively for a church choir. Only about 21 of his compositions have been preserved. He wrote offertoria, gradualia, Regina Coeli, Salve Reginas, requiems, litanies, Te Deums, and church cantatas. In some of his works Brixi also thematically elaborated folk spiritual music.

Poems on Several Occasions, vol. 1, pp.127 ff The cantatas were set by Johann Christoph Pepusch, for whom Hughes wrote many more, as well as an ode for the birthday of the Princess of Wales and the masque "Apollo and Daphne".Poems on Several Occasions, vol.

He followed this by a lengthy visit to Rome, where opera performances were then forbidden by papal decree,Dean, p. 86 and honed his skills through the composition of cantatas and oratorios. In Rome, Handel met Cardinal Vincenzo Grimani, a diplomat and spare-time librettist;Lang, p.

He invented a clavichord with quarter tones and a clavicymbalum with a pedal keyboard. His numerous compositions were not published, but included an oratorio, cantatas, masses, psalms, canons, organ pieces, and clavichord music. His son, Georg Gebel the Younger, was also a noted musician and composer.

Günther Zedler. Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung. Books on Demand, 2011. , pp. 24–26Tatiana Shabalina "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach’s Cantatas" pp. 77-99 in Understanding Bach 4, 2009Picander (=Christian Friedrich Henrici).

Willy Burkhard (17 April 1900 – 18 June 1955) was a Swiss composer and academic teacher, influential in both capacities. He taught music theory at the Berne Conservatory and the Zürich Conservatory. His works include an opera, oratorios, cantatas, and many instrumental genres from piano pieces to symphonies.

Between 1852 and 1854, Crosby wrote the librettos of three cantatas for Root. Their first was The Flower Queen; The Coronation of the Rose (1852),Carder (2008), p. 35. often described as "the first secular cantata written by an American."For example, see Richard F. Selcer, ed.

The anonymous hymn tune of "Herr Jesu Christ, meins Lebens Licht" first appeared in Wolflein Lochamer's Lochamer-Liederbuch, printed in Nürnberg around 1455. In Leipzig in the 1720s, Johann Sebastian Bach composed settings of Lochamer's hymn based on four of his church cantatas and a sacred motet.

''''' (There arose a war), 19', is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726 for the Feast of Saint Michael and first performed it on 29 September 1726. It is the second of his three extant cantatas for this feast.

The girls received a musical education, and the most talented among them stayed and became members of the Ospedale's renowned orchestra and choir. Shortly after Vivaldi's appointment, the orphans began to gain appreciation and esteem abroad, too. Vivaldi wrote concertos, cantatas and sacred vocal music for them.

Bach's parodies are usually secular to sacred rather than sacred to secular. The explanation given for the prevalence of secular to sacred parodies is that occasional secular works such as birthday cantatas had a single use and then Bach was able to reuse them as sacred works.

In 2004 he initiated the chamber choir Key Ensemble.Key Ensemble He is also member of the recently started international ensemble Apollo's Noyse.Website of Mats Lillhannus Mats Lillhannus frequently appears as soloist in oratorios and cantatas. He also edits music and writes concert presentations for several music festivals.

This collaboration between Bach and Hunold lasted from 1718 to 1720 after which year the composer found another librettist for his continuing series of congratulatory cantatas. After the poet had died Bach returned to his work as the basis for the cantata Ich bin in mir vergnügt.

The Bachchor Wiesbaden is a mixed choir at the Protestant Lutherkirche in Wiesbaden, the state capital of Hesse. They perform oratorios, motets and cantatas, both in the liturgy and concert. The perform also on international concert tours and in partnership with a choir in Royal Tunbridge Wells.

Works by such noted composers as Quincy Porter, Arthur Foote, and Michael Colgrass have been published as well as contributions by less well-known composers. Other publishing priorities include works for multiple violas and movements from the cantatas of J. S. Bach that prominently feature the viola.

Bach scored the work for tenor and bass soloists and a four-part choir. Bach gives his soloists an arioso and an aria. As in other early cantatas, there are no recitatives. (Bach later came more under the influence of Italian music, combining recitatives and arias).

Johann Sebastian Bach used it as the basis for chorale preludes, and in cantatas such as his second cantata as Thomaskantor in Leipzig, Die Himmel erzählen die Ehre Gottes, BWV 76, when he closed part I with the first stanza and part II with the last.

Tobie is an oratorio by Charles Gounod to words by Lefèvre from 1854. The Concise Oxford Dictionary of Music Michael Kennedy, Joyce Bourne - 2004 p297 0198608845 oratorios: La Rédemption (1868–81); Mors et Vita (1885). cantatas: Marie Stuart (1837); Gallia (1871). church music: Messe a tre (1841); ...

His output consists of cantatas, operas (L’innocenza difesa, Flavio Cuniberto), psalms, odes, concertos and keyboard sonatas. However, many of his works were lost. His 150 psalms were published in Amsterdam in 1766. Sammlung verschiedener und auserlesener Oden (1737-1743) by Johann Friedrich Gräfe contains 72 of his odes.

René de Galard de Béarn, Marquis de Brassac (1699 – October 1771) was a French soldier and amateur composer of the Baroque era. He wrote two operas and a collection of cantatas. He was a cavalry officer, appointed maréchal de camp (major-general) in 1748 and lieutenant-general in 1758.

Smith (2000) I, 84–5. Bequests in his will to the Conservatoire to found prizes for composition of cantatas on Old Testament themes and for performance on the pedal-piano, and to a Jewish charity for the training of apprentices, were refused by the beneficiaries.François-Sappey (1991), 318–20.

I 70. which Bach demanded for nine cantatas and (according to some views) the cello suite BWV 1012, and a viola d'amore with six 6 gut playing strings and 6 metal resonating strings an octave higher (Vienna, around 1700).Herbert Heyde: Historische Musikinstrumente im Bachhaus Eisenach p. 80 no.

Johann Sebastian Bach set different stanzas of it, on the tune by Johann Crüger, for his Christmas cantatas Darzu ist erschienen der Sohn Gottes, BWV 40 (1723), and Unser Mund sei voll Lachens, BWV 110, and as the final chorale in Part III of his Christmas Oratorio of 1734.

Close relationship has been established with the record company K 617 in order to make available major works of Théodore Gouvy such as his great dramatic cantatas Elektra op. 85, Egill op. 86 or the Stabat Mater op. 65, all for solos, choir and orchestra, needing new edition.

Some cantatas are structured as a dialogue, mostly for Jesus and the Soul (bass and soprano), set like miniature operas. Bach titled them for example , concerto in dialogue. An early example is (1714). He composed four such works in his third annual cycle, (1725), , (both 1726), and (1727).

It was performed an estimated 1,000 times throughout the United States in the first four years after its publication.Blumhofer (2005), pp. 149–50. The success of The Flower Queen and subsequent cantatas brought great acclaim and fortune to Root, with little of either for Crosby.Blumhofer (2005), p. 150.

Born in Sperenberg, Stolte attended schools in Lübeck and Potsdam. She studied voice with Anneliese Buschmann in Rostock. With the Thomanerchor she started broadcasting in 1958 and recording of Bach cantatas in 1960. In 1958 she sang in the premiere of Te Deum by Ernst Pepping in Dresden.

During the romantic era, Felix Mendelssohn composed the chorale cantata ' based on Martin Luther's song, and Josef Rheinberger wrote ' (The star of Bethlehem) on a text by his wife Franziska von Hoffnaaß. Christmas cantatas were also composed by Gerard von Brucken Fock (1900) and Charles H. Gabriel, among others.

Pietro Alessandro Gaspare Scarlatti (2 May 1660 – 22 October 1725) was an Italian Baroque composer, known especially for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti.

The second edition (Venice, 1797) was much revised and enlarged with new sections on singing and counterpoint. Manfredini composed numerous operas, as well as ballets, cantatas, sacred music (including a requiem), symphonies, string quartets, concertos, and chamber works. Vincenzo Manfredini died on 16 August 1799 in St. Petersburg, Russia.

The opening chorus employs a double choir, unique in Bach's surviving cantatas. The movement begins with an instrumental ritornello and is in da capo form. The choir enters in a unison statement. While the model () had an upbeat of one note, it is a run of four notes here.

Among Howard's arrangements and transcriptions are the final chorale movements of Bach's cantatas nos. 60 and 209, Glazunov's Second Concert Waltz, the aria "Ebben? Ne andrò lontana" from the opera La Wally by Alfredo Catalani, and a Concert Fantasy for Piano on themes from Gilbert and Sullivan's operetta Ruddigore.

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.

However, he criticised the structure of the cantata, saying that it offers evidence that at this stage in his career the composer had difficulty with large forms. On the other hand, the musicologist Julian Mincham regards the piece as being different from later cantatas rather than inferior to them.

Andrea Lauren Brown (born in 1973) is an American soprano and second prize winner of the 2003 ARD International Music Competition. Often appearing as Andrea Brown, she has performed at international venues and festivals, and has made recordings of rarely played sacred music including cantatas by Christoph Graupner.

Bach's cantatas fell into obscurity after his death and, in the context of their revival, stands out as being recorded early and having been recorded often; as of 2016, the Bach Cantatas Website lists 77 different complete recordings, the earliest dating from 1931. The first recording was a Catalan version arranged by Francesc Pujol with Lluís Millet conducting the Orfeó Català: this 1931 performance was released on three 78 rpm discs by the label "La Voz de su Amo" (His Master's Voice) in 1932. The cantata was recorded twice under the direction of Nadia Boulanger, a 1937 version recorded in Paris and a 1938 version recorded in Boston. There are several recordings from the decades immediately after the war.

The Grateful Lover (1739) Gunn's compositions included cantatas, songs, psalms and instrumental music for strings. In 1751 a thinly veiled attack appeared in an anonymous pamphlet (attributed to William Hayes) entitled "The Art of Composing Music by a Method Entirely New ... Suited to the Meanest Capacity", suggesting that Gunn composed using a Spruzzarino - a fictional device that squirted random dots of ink onto manuscript paper. Gunn responded in good humour by naming a 1752 publication of his music "12 English Songs, by the newly invented method of composing with the Spruzzarino". Gunn's compositions were in fact highly successful - his 1742 "2 Cantatas and 6 Songs" had 464 subscribers, including the composer George Frideric Handel.

' (They will all come forth out of Sheba), 65', is a church cantata by Johann Sebastian Bach. He composed it in 1724 in Leipzig for Epiphany and first performed it on 6 January 1724 as part of his first cantata cycle. Bach wrote the cantata to conclude his first Christmas season as Thomaskantor in Leipzig which had been celebrated with five cantatas, four of them new compositions, the Magnificat and a new Sanctus. The text by an anonymous author, who possibly supplied texts of two of the Christmas cantatas as well, combines the prescribed readings for the feast day, the prophecy from the Book of Isaiah and the gospel of Matthew about the Wise Men from the East.

The orchestra has recorded numerous works of Johann Sebastian Bach with the Heinrich-Schütz-Chor Heilbronn and conductor Fritz Werner, including several cantatas, the Mass in B minor (in 1957), the St Matthew Passion (1958), the St John Passion (1960), the Christmas Oratorio (1963), and the Easter Oratorio (1964).Fritz Werner & Heinrich Schütz Choir of Heilbronn & Pforzheim Chamber Orchestra on bach- cantatasJohann Sebastian Bach (1685–1750) The Cantatas, Volume 2 review by John Quinn on musicweb.international, 2005 It has been instrumental in premieres of works by Boris Blacher, Jean Françaix, Harald Genzmer, and Enjott Schneider. The orchestra has also recorded the twelve cello concertos of Luigi Boccherini with cellist Julius Berger, a professor at the University of Mainz.

He wrote the text for Bach's earliest secular cantata (1713), Was mir behagt, ist nur die muntre Jagd (BWV 208) in which, following the custom of the day, he drew upon mythological characters. The cantata was composed for the 31st birthday celebration of Duke Christian of Sachsen-Weissenfels. It is not known for sure when he began collaborating with Bach on sacred cantatas, as the author of some texts used by Bach is unknown. However, the collaboration between Franck and Bach was particularly active from 1714, when the composer was promoted to the post of Konzertmeister at Weimar, and embarked on the composition of cantatas for the Schlosskirche (court chapel) on a regular monthly basis.

Marcello's score for Ma'oz TzurMarcello's Ma'oz Tzur performed by the Zamir Chorale The library of the Brussels Conservatoire possesses some interesting volumes of chamber cantatas composed by Marcello for his mistress. Although Benedetto Marcello wrote an opera called La Fede riconosciuta and produced it in Vicenza in 1702, he had little sympathy with this form of composition, as evidenced in his writings (see below). Benedetto Marcello's music is "characterized by imagination and a fine technique and includes both counterpoint and progressive, galant features" . With the poet Antonio Schinella Conti he wrote a series of experimental long cantatas – a duet, Il Timoteo, then five monologues, Cantone, Lucrezia, Andromaca, Arianna abandonnata, and finally Cassandra.

Bach wrote the cantata in Leipzig for Estomihi (Quinquagesima), the last Sunday before Lent, a period when Leipzig observed and no cantatas were performed. In 1723 Bach had performed two cantatas on the Sunday, Du wahrer Gott und Davids Sohn, BWV 23, composed earlier in Köthen, and Jesus nahm zu sich die Zwölfe, BWV 22, audition pieces to apply for the post of in Leipzig. In 1729 the cantata was the last one performed on a Sunday before the St Matthew Passion on Good Friday of that year. The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love" (), and from the Gospel of Luke, healing the blind near Jericho ().

Laurich recorded Bach cantatas regularly with Helmuth Rilling and his Gächinger Kantorei in their complete recording, including in 1973 the cantata for Ratswahl (inauguration of the town council in Leipzig) Gott, man lobet dich in der Stille, BWV 120, together with Helen Donath, Adalbert Kraus and Wolfgang Schöne. She recorded Bruckner's Requiem, cantatas of Georg Frideric Handel, works of Heinrich Schütz, and Romeo und Julia of Heinrich Sutermeister. In 1980 she recorded the Messe des morts of François-Joseph Gossec, with Herbert Schernus conducting the choir of the WDR and the Capella Coloniensis. In 1981 she was one of the soloists for a recording of Mahler's Symphony No. 8, with Michael Gielen conducting the Frankfurter Opern- und Museumsorchester.

From 1707 to 1708, Bach was the organist at one of Mühlhausen's principal churches, Divi Blasii, dedicated to St Blaise, where he composed some of his earliest surviving cantatas. One or two early cantatas, for example Nach dir, Herr, verlanget mich, BWV 150, may have been written at Arnstadt, his previous residence, for a performance at Mühlhausen. He composed Gott ist mein König for a church service that was held annually to celebrate the inauguration of a new town council. The librettist is unknown; it has been speculated that the text was written by Georg Christian Eilmar, minister of Marienkirche, who had earlier prompted the composition of Bach's cantata Aus der Tiefen rufe ich, Herr, zu dir, BWV 131.

At Cambridge, he received an English essay prize, combined with a third in History. His father tried to get Allon appointed to the university's inspectorate, but was dissuaded by Matthew Arnold, as he suspected the Tory government in power (whose Lord President had the job of appointing inspectors) would not be happy to appoint nonconformist inspectors. Allon composed and published many musical works, including two cantatas, 'Annie of Lochroyan' and 'The Child of Elle' chamber music, piano solos, and cantatas, mainly for the pianoforte or the pianoforte with the violin. Clyde Binfield noted that while "there was nothing Celtic in his ancestry", his compositions often bore Scottish inspired names, such as 'The Maid of Colonsay' and 'May Margaret'.

Besides some four dozen operas, there are oratorios, solo cantatas with keyboard accompaniment, motets and vocal serenades. Among his larger works, his 1720 opera Orlando, oratorio Gedeone (1737), one mass, his Venetian Vespers, and the operas Germanico in Germania (1732) and Arianna in Nasso (1733 according to HOASM) have been recorded.

280 From London, Arrigoni went on to Vienna for two years, where he produced several cantatas and his oratorio, Ester (1738).Google Books On his return to Florence he was appointed composer to Francesco II, Grand Duke of Tuscany. His operas Sibace and Scipione nelle Spagne were performed in 1739.

Eberlin wrote cantatas for church services and a set of trio sonatas. However, only few of his works are preserved. One of his pupils was Georg von Bertouch, a German-born composer and officer who dwelt during most of his adult life in Norway. Eberlin was married and had eight children.

Bernard Ringeissen (born 15 May 1934)Bach Cantatas is a French classical pianist. He was born in Paris in 1934. His first teacher, at age 7, was Georges de Lausnay. He entered the Conservatoire National Supérieur de Musique in 1947, aged 12, and won the Premier Prix when he was sixteen.

Elsner composed many symphonic, chamber, solo, and vocal-instrumental works, and works for the stage, including over 100 religious works (masses, offertorios, oratorios, cantatas), eight symphonies, three concertos, three ballets, and thirty-eight operas. He is perhaps best known as the principal piano teacher of the young composer Frédéric Chopin.

His hymn "Gelobet sei der Herr, mein Gott" is the base for the chorale cantata Gelobet sei der Herr, mein Gott, BWV 129, by Johann Sebastian Bach, who also included a stanza of "Tröstet, tröstet meine Lieben" (Comfort, comfort ye my people) in his cantatas Freue dich, erlöste Schar, BWV 30.

Other cantatas that Bach performed for the occasion are, according to Alfred Dürr, , , and , with similar topics. In the first version of the cantata, the choice of the bass voice probably illustrates the old man Simeon. The soprano voice shows more clearly that the situation applies to that of any believer.

Abel 63. Over his career, Hewitt wrote over 300 songs, a number of cantatas and operettas, and one oratorio, as well as plays, poems, and articles for magazines and newspapers. He also worked as a theatre manager, magazine and newspaper editor, concert performer, and music teacher at seminaries for women.

Feo would stay there until 1743, helped by Alfonso Caggi and later Girolamo Abos. During his time there, he taught Giacomo Insanguine and Gian Francesco de Majo. Feo wrote most of his oratorios between 1723 and 1743, along with a good portion of his cantatas and much other sacred music.

Bonner was born in Southwark, Surrey. A composer and hymnist, he wrote and arranged hymns, choral works and sacred cantatas and compiled a number of hymnals. He is known for The Sunday School Hymnary (1905) and The Baptist Church Hymnal (1933). His Ministerial training was at Rawdon Baptist College in Leeds.

Joseph O'Kelly (29 January 1828 – 9 January 1885), composer, pianist and choral conductor, was the most prominent member of a family of Irish musicians in 19th- and early 20th-century France. He wrote nine operas, four cantatas, numerous piano pieces and songs as well as a limited amount of chamber music.

Johann Hugo von Wilderer (1670 or 1671 – buried 7 June 1724) was a German Baroque composer. He was born in Bavaria and died in Mannheim, where in his later years he served as the Kapellmeister of the court orchestra. His compositions include eleven operas, two oratorios, cantatas, and sacred works.

Paul Lawrence Vincent Esswood (born 6 June 1942) is an English countertenor and conductor. He is best known for his performance of Bach cantatas and the operas of Handel and Monteverdi. Along with his countrymen Alfred Deller and James Bowman, he led the revival of countertenor singing in modern times.

Mincham compares the writing to the opening chorale fantasias of the second cantata cycle of chorale cantatas, finding the composition for the lower voices "endlessly inventive, frequently related to the textual images" pointing out "the passionate and clinging representation of kissing the Saviour beneath the caressing flutes, in the penultimate phrase".

Your dreams go through my song.). Fürnberg mostly wrote poems, narratives and novels. His novella 'Die Begegnung in Weimar' (The Encounter in Weimar) deals with the meeting of Adam Mickiewiczs and Johann Wolfgang von Goethe. Fürnberg's dramas, festival works and cantatas show his communist beliefs, which he held until his death.

It was the favourite hymn of King Frederick William III of Prussia and was sung at his funeral. In Germany, it is number 294 in the Catholic hymnal, and number 372 in the Protestant hymnal. The text is based thematically on . Johann Sebastian Bach used the song in several different cantatas.

Hadley also wrote a large number of cantatas and oratorios, some of them, such as Resurgam, conceived on a very large scale. His work as a song composer is also noteworthy. Villamil claims that "Of his nearly 200 songs many can still be recommended for their unaffected, buoyant lyricism."Villamil, pp.

Thomas Thomaschke (born 2 August 1943) is a German bass singer in opera and concert. He has appeared in parts such as Hunding in Wagner's Die Walküre and Sarastro in Mozart's Die Zauberflöte in major opera houses in Europe and international festivals. He has also performed and recorded oratorios and cantatas.

She recorded three Bach cantatas with Michael Gielen, two others with Prohaska, six with Scherchen and two with Wöldike. She appeared in a concert of the ORF on 8 April 1968 with the Stabat mater by Karol Szymanowski and that by Tommaso Traetta, conducted by , with Mimi Coertse and Ladislaus Anderko.

Zelter was born and died in Berlin. He became friendly with Johann Wolfgang von Goethe, and his works include settings of Goethe's poems. During his career, he composed about two hundred lieder, as well as cantatas, a viola concerto (performed as early as 1779)Greene 1985, p. 418 and piano music.

His portrayal of Schumann's Dichterliebe at the Wigmore Hall in 2006 was also highly praised. Finley appears on a number of recordings, including several solo albums on the Hyperion label, including Bach cantatas, songs by Barber, Ives and Ravel, Schubert's Schwanengesang and Winterreise, Brahms's Vier ernste Gesänge, and Schumann's Dichterliebe and Liederkreis.

After this, he wrote the cantatas Holyrood (1860) and Daughter of the Isles (1861) and a Jubilate in B (1864). In 1865, he wrote a romantic opera Ida, or, The Guardian Storks. He also conducted the amateur Herefordshire Philharmonic Society from 1863. He published over a hundred part songs for the choir.

' (Examine me, God, and know my heart), 136' is a church cantata by Johann Sebastian Bach. Bach composed the cantata in 1723 in Leipzig to be used for the eighth Sunday after Trinity. He led the first performance on 18 July 1723. The work is part of Bach's first annual cycle of cantatas.

The Song of Hiawatha (full name: Scenes from The Song of Hiawatha by Henry Wadsworth Longfellow), Op. 30, is a trilogy of cantatas written by Samuel Coleridge-Taylor between 1898 and 1900. The first part, Hiawatha's Wedding Feast, was particularly famous for many years and made the composer's name known throughout the world.

He was a founder of a new style of revolutionary song for the masses. He also composed works in larger forms such as Requiem for Lenin. Eisler's most important works include the cantatas German Symphony, Serenade of the Age and Song of Peace. Eisler combines features of revolutionary songs with varied expression.

Mikis Theodorakis composed the cantatas According to the Sadducees and Canto Olympico. Herbert Blendinger's Media in vita was premiered in 1980, his Mich ruft zuweilen eine Stille (Sometimes a silence calls me) in (1992), and Allein den Betern kann es noch gelingen (It can only be achieved by those who pray) in 1995.

When Nikolaus Harnoncourt started adopting the historically informed performance practice he prominently featured Bach's music, such as the Brandenburg Concertos and the cantatas. Performers following in that tradition, such as Gustav Leonhardt, Ton Koopman, Philippe Herreweghe and musicians of the Kuijken family invariably had a large part of their repertoire devoted to Bach.

Gligo, Nikša. "Radica, Ruben", Grove Music Online, Oxford University Press, 2001, retrieved 10 May 2018 Hatze wrote up to 60 songs. He wrote the cantatas "Night at Una" (verses by Hugo Badalić), "Exodus" (1912) and "Golemi Pan" (1917). The work "Golemi Pan" (Huge Pan) was written to the poetry of Vladimir Nazor.

Further composition continued up to his death: the second version of The Greek Passion, the Nonet, the Madrigaly, and the cantatas Mikeš z hor (Mikeš from the Mountains) and The Prophecy of Isaiah. He died in Liestal, Switzerland, on 28 August 1959. His remains were moved and buried in Polička, Czechoslovakia, in 1979.

In 1951, he received the Stalin Prize, the highest-ranking award in the Soviet Union. In 1957, he became People's Artist of Azerbaijan. During his career in music, Rustamov composed hundreds of musical pieces, including sheet music for popular operettas and accompaniment for many theatrical plays, as well as suites, marches, cantatas, etc.

She wrote a number of secular cantatas and two oratorios to Italian texts. Surviving compositions include four masses, six motets, and three litanies for choir. She wrote in the Italian style, as was typical for the early Classical period in Vienna. Her harpsichord performance practice was compared to the style of C.P.E. Bach.

In British Opera in Retrospect. The British Music Society, 1986. p.115-116 four symphonies, four string quartets, two large-scale cantatas with orchestra, other orchestral works, chamber music, sets of 24 preludes and 24 fugues for piano, and vocal works of various kinds.Lloyd, Thomas: 'The vocal chamber music of Hans Gál'.

She later studied with Margaret Harshaw at the Curtis Institute of Music in Philadelphia where she graduated in 1960. That same year she won the Metropolitan Opera National Council Auditions and made her formal debut at the Marlboro Music Festival with famed pianist Rudolf Serkin, among others.Benita Valente (Soprano). Bach Cantatas Website.

After the beginning of the Baroque period, there continued to be parodies with serious intent, an example being J. S. Bach's reuse of three cantatas in his Christmas Oratorio.Boyd, pp. 178–80 As musical fashions changed, however, there was little cause to re-use old modal tunes and compositional styles.Burkholder, J. Peter.

Handel dedicated a series of cantatas to the cardinal, as well as the famous 1707 oratorio Il trionfo del Tempo e del Disinganno, with a libretto by the cardinal.Trionfo del tempo e del disinganno. Oratorio in due parti, libretto di Benedetto Pamphilij, musica di Georg Friedrich Handel, Ed. Teatro Regio, Torino 1998.

Dyer studied piano and harpsichord at the Sydney Conservatorium of Music and undertook postgraduate studies with Bob van Asperen at the Royal Conservatory in The Hague.Bach Cantatas In 1995 he received a Churchill Fellowship to undertake advanced studies in 17th and 18th Century music performance practices in the UK, Netherlands, and France.

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4) and alla breve (2/2). The continuo, playing throughout, is not shown.

Bernhard Klee (born April 19, 1936) is a German conductor, originally from Schleiz, in Thuringia. Trained as a member of the Thomanerchor,Bach Cantatas he has since conducted many of Europe's most prestigious orchestras including the Vienna Philharmonic and State Philharmonic of Rheinland- Palatinate.a2kmusic.com He was married to the Swiss soprano Edith Mathis.

He followed the format of the chorale cantatas, framing solo movements with an opening chorale fantasia and a closing chorale. The inner movements are four new arias, the first a duet. For both chorale movements, he reused earlier compositions, expanding their instrumentation for a festive occasion which may have been a wedding.

The work was published in 1876 in the first complete edition of Bach's works, the Bach-Gesellschaft Ausgabe. The volume in question consisted of cantatas rather than motets and was edited by Alfred Dörffel. It was subsequently included among the motets in the New Bach Edition in a volume edited by Konrad Ameln.

The aria is scored for solo alto voice, two violins, and basso continuo. As with many of Bach's latest cantatas, the aria has a "quality of mellow assurance". It is in adapted ternary form but includes no clear reprise of the opening section. The vocal line includes melismas but no other word painting.

Die Musik in Geschichte und Gegenwart, Vol. 14, p. 647. Bärenreiter-Verlag At a time when European music was dominated by French and Italian artists, Wilderer gained a reputation as a German musician. His works include eleven operas (most of which were premiered in Düsseldorf), two oratorios, cantatas, motets, and other sacred works.

They share a style "marked by the transition from baroque to gallant style, with baroque features in the church music, in pompous introductory movements to cantatas and fugue parts in the symphonies." Some of the works attributed to him have turned out to be by other composers, e.g. Roman and Andrea Bernasconi.

Majesty Music, Greenville, South Carolina. Majesty Music is a privately-owned, conservative evangelical Christian music and book publishing company in Greenville, South Carolina, perhaps best known for its children's adventure- story character Patch the Pirate. The company publishes sheet music, hymnals, choral collections, cantatas and Christmas plays, audio recordings, and feature-length cartoons.

Hélène-Louise Demars (born c. 1736) was a French composer and music teacher. Demars wrote several cantatas dedicated to nobles such as Mademoiselle de Soubise of the Rohan family and Madame La Marquise de Villeroy. She went on to become a teacher of several instruments such as the harpsichord and the violin.

Johann Jakob Greber (? – buried 5 July 1731) was a German Baroque composer and musician. His first name sometimes appeared in its Italianized version, Giacomo, especially during the years he spent in London (1702 – 1705). Greber composed solo cantatas, sonatas, and stage works, including the opera which opened London's Queen's Theatre in 1705.

Most recordings of the cantata, however, feature mixed choirs: an exception is the version conducted by Nikolaus Harnoncourt, which deploys boys' voices as the top lines of the choir.Recorded in 1981, this version is part of a complete set of the cantatas, a joint project with Gustav Leonhardt, which mainly uses male voices.

The edition contains in eight series over 100 volumes of scores (Notenbände), each Score (Partitur) volume complemented with a Critical Commentary (Kritischer Bericht) volume. The ninth series contains Addenda (7 volumes), and furthermore there is a Supplement of 9 volumes (Supplementbände): :I. Cantatas (47 volumes) :II. Masses, Passions, Oratorios (12 volumes) :III.

BALSIS has released 18 compact disc albums. The Rolling Stone magazine has declared the album Christmas Joy in Latvia – Latvian Christmas Cantatas from 2008, created in collaboration with the New York Latvian Choir and the New Chamber Orchestra of Riga, as one of the twenty five greatest Christmas albums of all time.

Max van Egmond studied voice at Hilversum with Tine van Willingen de Lorme.[ Max van Egmond] at all-music At the age of eighteen he became a member of De Nederlandse Bachvereniging (Netherlands Bach Society).Max van Egmond on the bach-cantatas website Starting in 1965, he became involved in the complete Bach recordings of Gustav Leonhardt, Nikolaus Harnoncourt and Frans Brüggen. He recorded the St Matthew Passion under Claudio Abbado in 1969 and Nikolaus Harnoncourt in 1970, singing the bass arias.St. Matthew passion, Bach: Matthäus-Passion on bach-cantatas, Abbado #44, Harnoncourt #47Geringe Mittel review in Der Spiegel 5 April 1971 (in German) In 1973, he was the Vox Christi in the first historically informed performance in the Netherlands of Bach's St Matthew Passion.

' (You shall weep and wail), 103', is a cantata by Johann Sebastian Bach, a church cantata for the third Sunday after Easter, called Jubilate. Bach composed the cantata in his second year as in Leipzig and first performed it on 22 April 1725. It is the first of nine cantatas on texts by Christiana Mariana von Ziegler, which Bach composed at the end of his second annual cycle of cantatas in Leipzig. Based on the Gospel reading from the Farewell Discourse, where Jesus, announcing that he will leave, says "your sorrow shall be turned into joy", Bach contrasts music of sorrow and joy, notably in the unusual first movement, where he inserts an almost operatic recitative of Jesus in the fugal choral setting.

Bach composed the cantata in Leipzig for the Third Sunday after Easter, called Jubilate. The prescribed readings for the Sunday were from the First Epistle of Peter, "Submit yourselves to every ordinance of man" (), and from the Gospel of John, Jesus announcing his second coming in the so-called Farewell Discourse, saying "your sorrow shall be turned into joy" (). For this occasion Bach had already composed in 1714 , which he used later as the basis for the movement in his Mass in B minor. In his second year in Leipzig, Bach composed chorale cantatas between the first Sunday after Trinity and Palm Sunday, but for Easter he returned to cantatas on more varied texts, possibly because he lost his librettist.

In classical music, as a technical term, parody refers to a reworking of one kind of composition into another (for example, a motet into a keyboard work as Girolamo Cavazzoni, Antonio de Cabezón, and Alonso Mudarra all did to Josquin des Prez motets).Tilmouth, Michael and Richard Sherr. "Parody (i)"' Grove Music Online, Oxford Music Online, accessed 19 February 2012 More commonly, a parody mass (missa parodia) or an oratorio used extensive quotation from other vocal works such as motets or cantatas; Victoria, Palestrina, Lassus, and other composers of the 16th century used this technique. The term is also sometimes applied to procedures common in the Baroque period, such as when Bach reworks music from cantatas in his Christmas Oratorio.

Mendelssohn's Symphony Cantata, the Lobgesang, is a hybrid work, partly in the oratorio style. It is preceded by three symphonic movements, a device avowedly suggested by Beethoven's Ninth Symphony; but the analogy is not accurate, as Beethoven's work is a symphony of which the fourth movement is a choral finale of essentially single design, whereas Mendelssohn's Symphony Cantata is a cantata with three symphonic preludes. The full lyric possibilities of a string of choral songs were realized by Johannes Brahms in his Rinaldo, that—like the Walpurgisnacht—was set to a text by Goethe. Other cantatas, Beethoven's Meeresstille, works of Brahms and many notable small English choral works, such as cantatas of John Henry Maunder and John Stanley, find various ways to set poetry to choral music.

In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called Hunting Cantata, BWV 208, as a homage cantata for Christian, Duke of Saxe-Weissenfels, celebrated on 23 February, and possibly the church cantata for Sexagesima (the second Sunday before Lent) , on a text by Erdmann Neumeister. In 1713, he was asked to apply for the position of music director of the in Halle, succeeding Friedrich Wilhelm Zachow. Zachow had taught the young George Frideric Handel, and composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera. Bach was successful in his application for the position, but declined after Duke Wilhelm Ernst increased his salary and offered him a promotion.

Sara Mingardo Sara Mingardo (born 2 March 1961) is an Italian classical contralto who has had an active international career in concerts and operas since the 1980s. Her complete recording of Anna in Hector Berlioz's Les Troyens won a Gramophone Award and both the Grammy Award for Best Opera Recording and the Grammy Award for Best Classical Album in 2002. Some of the other roles she has performed on stage or on disc include Andronico in Tamerlano, Mistress Quickly in Falstaff, Rosina in The Barber of Seville, and the title roles in Carmen, Giulio Cesare, Riccardo Primo, and Rinaldo. She has also recorded several Vivaldi cantatas, Bach cantatas, and such concert works as Mozart's Requiem, Rossini's Stabat Mater, and Vivaldi's Gloria among others.

Kožená's first recording was of Bach arias, recorded in the Czech Republic. Upon hearing the recording, Deutsche Grammophon (DG) signed her to a recording contract. Later recordings include Handel's Roman Motets and Italian Cantatas and Messiah with Marc Minkowski for DG/Archiv, and her first solo recital disc (Dvořák, Janáček and Martinů with Graham Johnson – Gramophone Solo Vocal Award, 2001) for Deutsche Grammophon. Further recordings include recitals of arias of Mozart, Gluck and Mysliveček (with the Prague Philharmonia and Michel Swierczewski), of French arias with the Mahler Chamber Orchestra and Minkowski, Gluck's Paride ed Elena under Paul McCreesh, a recital disc with Malcolm Martineau and an acclaimed disc of cantatas by members of the Bach family ("Lamento") with Musica Antiqua Köln and Reinhard Goebel.

Bach composed the cantata in his second annual cycle in Leipzig for the second Sunday after Easter, called . The prescribed readings for that Sunday were from the First Epistle of Peter, Christ as a model (), and from the Gospel of John, the Good Shepherd (). According to John Eliot Gardiner, the poet is likely the same as for two preceding cantatas, Bleib bei uns, denn es will Abend werden, BWV 6, and Am Abend aber desselbigen Sabbats, BWV 42, before Christiana Mariana von Ziegler became the poet for the following cantatas of the period. The three cantata texts were probably written for Bach's first year in Leipzig, but postponed due to the workload of the first performance of the St John Passion that year.

In 2006 he recorded Lieder from Vienna written in the fin de siècle period, titled "Hugo Wolf und der Wiener Jugendstil", by composers such as Alban Berg, Arnold Schönberg, Franz Schreker and Hugo Wolf, writing the program notes himself. A review of the "ambitious project" noted: "Wörner's quiet but colorful bass-baritone and reflective attitude toward the text are evocative of the small gatherings in which the music of the Second Viennese School took shape". Wörner recorded with his own Ensemble Kirchheimer BachConsort Christoph Graupner's cantatas for epiphany and also Bach's Dialog- cantatas with Hana Blazikova. Wörner appeared on the opera stage at the Solothurn theatre in the title role of Jean-Jacques Rousseau's Le devin du village, which was recorded.

Bach wrote the cantata in 1726, his fourth year in Leipzig, for the 14th Sunday after Trinity. The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's teaching on "works of the flesh" and "fruit of the Spirit" (), and from the Gospel of Luke, Cleansing ten lepers. (). That year, Bach presented 18 cantatas by his relative Johann Ludwig Bach who was court musician in Meiningen. Bach seems to have been impressed also by the texts of those cantatas and follows similar structures: seven movements, divided in two parts to be performed before and after the sermon, both parts opened by Bible words, Part I by a quotation from the Old Testament, Part II by one from the New Testament.

Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.Christian History Corner: The Fifth Evangelist in Christianity Today, 2000 In 1929 the Swedish bishop Nathan Söderblom had called Bach's cantatas the Fifth Gospel.Uwe Siemon-Netto: Why Nippon Is Nuts About J.S. Bach. The Japanese yearn for hope.

She died on April 20, 1980, at the age of 87, in Littleton, Massachusetts.Boston Globe obituary She left all of the royalties and proceeds from her compositions, which include operas, choruses, children's operettas, cantatas, piano and organ pieces, and songs, to Wellesley College's Music Department. These funds are used to support musical instrument instruction.

Wenk is regarded as a specialist for the works of Johann Sebastian Bach. He recorded Bach cantatas with Fritz Werner and Helmuth Rilling, among others. In a 1966 recording of the , he performed the rage aria . Wenk recorded Bach's Mass in B minor in 1956/59 with the Schwäbischer Singkreis Stuttgart, conducted by Hans Grischkat.

She recorded with Richter cantatas, and his first recordings of both the Mass in B minor (1956) and the St Matthew Passion (1958). A reviewer noted her performance as a highlight of cantata Herr Jesu Christ, wahr' Mensch und Gott, BWV 127, calling it "a beguiling and beautifully restrained performance". Fahberg died in Munich.

Gibbs (1997), p. 21 Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write three concertante works for violin and orchestra.

300px Amico Ricci Petrocchini, Petruccini or Petruchini (1794-1862) was an Italian art historian and marquess. He is most notable for his 1834 Memorie storiche delle arti e degli artisti della Marca di Ancona, the first systematic survey of art history in the Marche. He also composed a number of cantatas for viola (1862).

An organ part for a later performance of movement 5 is extant. John Eliot Gardiner remarked that Bach "particularly valued" this cantata, and that it set "a pattern for his later approaches to the Pentecostal theme". Bach set the Gospel text of the recitative in a choral movement in other cantatas for Pentecost – , and .

Cataldo Amodei (6 May 164913 June 1693) was an Italian Baroque musician. He was born in Sciacca and in 1685 was ordained as a priest; in the same year he became maestro di cappella at the church of San Paolo Maggiore, Naples. His compositions are religious in function and include oratorios, motets and cantatas.

105 Later (from 1946 to 1950) he deepened his musical skills at the Academy of Performing Arts in Prague.Černušák (1963), p. 256 In 1949 he became director of the Vít Nejedlý Army Artistic Ensemble (Armádní umělecký soubor Víta Nejedlého) in Prague. He composed choruses, small cantatas and military songs for the performances of the ensemble.

Born in Zaandam, Netherlands, Kee studied organ, piano and composition at the Amsterdam Conservatory, obtaining the Prix d'Excellence, and won first prize at the annual Haarlem International Improvisation Competition three times in succession (1953 to 1955).Piet Kee (Organ). Bach Cantatas website. This was the start of a worldwide career as a concert organist. (2012).

In 1987, Junghänel founded the vocal ensemble Cantus Cölln, which he has directed ever since. Numerous recordings of Cantus Cölln have received international recognition. They recorded, among others, Monteverdi's Vespro della Beata Vergine, Dieterich Buxtehude's Membra Jesu Nostri and Geistliche Kantaten (Sacred Cantatas), and Johann Rosenmüller's Vespers, Weihnachtshistorie (Christmas Story) and Sacri Concerti (Sacred Concerts).

Johann Martin Rubert Johann Martin Rubert, also known as Rubbert or Rupert, (c. 1614 Nuremberg– 1677) was a German composer and organist. The history of music: a handbook and guide for students In 1640 Rubert became the organist at the Nikolaikirche at Stralsund. He was a composer of part-songs, violin duets, and cantatas.

Prometheus, Audio CD (November 29, 1999), Orfeo, ASIN: B00003CX0N. using Aeschylus' Greek language Prometheia.Prometheus libretto in modern Greek and German translation, 172 pages, Schott; Bilingual edition (June 1, 1976), . Another work inspired by the myth, Prometeo (Prometheus), was composed by Luigi Nono between 1981 and 1984 and can be considered a sequence of nine cantatas.

He conducted 30 new oratorios with the Sing-Akademie. As a composer, he created mostly church music, oratorios, cantatas and songs. Rungenhagen also worked at the Prussian Academy of Arts in Berlin as a music pedagogue, appointed professor in 1843. Amongst his students were Albert Lortzing, Louis Lewandowski, Stanisław Moniuszko, August Conradi and Alexander Fesca.

In 1962 at the Castle of Chapultepec in Mexico City, Fabila she gave the first modern performances of solo cantatas by the Italian baroque composer Giacomo Facco, whose scores had been discovered by her husband in the National Library of Paris. Zanolli and Fabila's daughter, Betty Zanolli Fabila, is a classical pianist and music teacher.

Vivaldi's music was innovative. He brightened the formal and rhythmic structure of the concerto, in which he looked for harmonic contrasts and innovative melodies and themes. Many of his compositions are flamboyantly exuberant. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his St John Passion, St Matthew Passion, and cantatas).

145 and 467 In the Telemann-Werke-Verzeichnis (TWV), the cantata was assigned the number 1:183. Some publishers continued to publish the score as a cantata by Bach. The New Bach Edition mentioned the cantata as Telemann's on p. 115 of the Critical commentary to Series I (Cantatas), Volume 41 (Varia) in 2000.

Corrette was prolific. He composed ballets and divertissements for the stage, including Arlequin, Armide, Le Jugement de Midas, Les Âges, Nina, and Persée. He composed many concertos, notably 25 concertos comiques. Aside from these works and organ concertos, he also composed sonatas, songs, instrumental chamber works, harpsichord pieces, cantatas, and other sacred vocal works.

Nabal (no HWV number) is an oratorio pastiche. It was compiled from the works of Handel in 1764 by John Christopher Smith. It was first performed on 16 March 1764 at Covent Garden, London. The recitatives are presumably the work of Smith, while the arias are largely borrowed from Handel's operas, oratorios, anthems and cantatas.

Some of his other notable works include the cantatas Cantate: La Confédération (1868) and La Croisade canadienne (1886); the operetta La Conversion d'un pêcheur de la Nouvelle- Écosse (published by the A.J. Boucher Co. in 1868); the piano pieces Marche canadienne (1846) and Quadrille national canadien; and the song Chant des Zouaves canadiens (1881).

Friedrich Hofmeister Musikverlag published the score of the pasticcio in 1997 as Passionskantate "Wer ist der, so von Edom kömmt" (Pasticcio). The editors of this publication were Andreas Glöckner and Peter Wollny. In the New Bach Edition the three Bach movements appeared in Series I (Cantatas), Volume 41, edited by Andreas Glöckner.Andreas Glöckner, editor.

The cantata consists of five movements, twice a sequence of an aria and a recitative, concluded by a choral movement. This resembles the typical format for secular cantatas. Likely at least the final movement if not others also are parodies of unknown secular music. The parts for flute and oboe were added for a later performance.

The famous series of Bach cantatas, performed during February in St Ann's Church, Dawson Street, Dublin, under Beckett's direction, began in 1973 and lasted for ten years.Michael Dervan: obituary, The Irish Times, 17 February 2007, p. 14.; The Irish Times, 31 January 1973, p. 12. The singers Frank Patterson, Bernadette Greevy, Irene Sandford and William Young were regular soloists.

The city of Zittau was destroyed in 1757 during the hostilities of the Seven Years' War, the Church of St. John is no longer standing. Among the numerous lost works are all of Krieger's known Singspiels. His older brother's oeuvre also suffered from events that occurred after his death: of some 2,000 cantatas by Johann Phillip, only 76 survive.

In 1694, he found employment at the court chapel in Weimar and was promoted to vice capellmaster (') in 1695, succeeding August Kühnel, with Samuel Drese as capellmaster. Strattner composed several cantatas of which about twenty are extant in manuscripts, and hymns, often with melodies like arias. He died in Weimar where he was buried on 11 April 1704.

Isouard adopted the pseudonym Nicolò (or Nicolò de Malte) and found rapid success in the field of opéra comique with Michel-Ange (1802) and L'Intrigue aux fenêtres (1805). He composed regularly for the Théâtre de l'Opéra-Comique, writing some thirty works for it. He composed masses, motets, cantatas, romances, and duos, along with over 45 operas.

Marģeris Zariņš (24 May 1910, Jaunpiebalga – 27 February 1993, Riga) was a Latvian composer and writer. He was an author of symphonic and vocal symphonic music, choir music, vocal chamber music, cantatas, oratories and operas; contemporary picaresque novels and short stories. He is considered to be the first representative of the Postmodern style in Latvian literature.

Mikhail Youdin (29 September 1893 St. Petersburg – 8 February 1948 Kazan) was a Russian composer. He studied at Saint Petersburg Conservatory, where he began teaching in 1926, and is best remembered for his 1943 opera Farida.Opera at Stanford University Youdin earned the nickname "Russian Bach" because of his career spent composing large scale ensembles, oratorios and cantatas.

In the 21st century, several conductors have recorded all or most of Bach's cantatas using choirs with three or four singers per part. For instance, Philippe Herreweghe has performed and recorded "Bach ... as he practiced in Leipzig, with three suitable singers per voice group".Ellen Segeren. "Voor Herreweghe gaat de tijd dringen: 'Ik wil alleen nog topmuziek'", pp.

Norman composed in a wide variety of genres, including four symphonies, four overtures, four sets of incidental music for plays, cantatas, and chamber music, as well as a great number of lieder and songs for choir. He was the dedicatee of Woldemar Bargiel's octet for strings. His pupils included Elfrida Andrée.Sadie, Julie Anne; Samuel, Rhian (1995). .

A musical version of the play itself had already been created in 1871 as a cantata by Henry Smart, setting a verse adaptation by Frederick Enoch.Upton, George P. The Standard Cantatas, Echo, 2010 (reprint of 1888 edition), p. 193. The front page of the score for Edwards' 1893 musical. The Russian translation was by Fyodor Miller.

Gina Bachauer played it with Dimitri Mitropoulos and the New York Philharmonic in 1960. Bliss himself conducted Frank Wibaut in a performance with the Leicestershire Schools Symphony Orchestra at the 1970 Cheltenham Festival. An earlier concert performance of the concerto was also given at Loughborough, again with Bliss conducting.Bach Cantatas Later pianists to embrace the work include Piers Lane.

He dismissed his own work in light music, emphasising his serious works, particularly his operas and cantatas."Julian Edwards", Lewiston Evening Journal, July 3, 1908, p.8. Initially, an opponent of Wagnerism, Edwards had become a strong supporter of the movement. He believed that Richard Strauss's Salome (1905) was the most important work of recent modern music.

England 1881 census As a poet he adopted the combined names of his mother and his wife as his pseudonym, Shapcott Wensley. He wrote lyrics for songs and librettos for cantatas. Among the composers he worked for were Edward Elgar and John Henry Maunder. Many of his texts were written on commission of the publishing house Novello.

Michel Corboz in 1990 by Erling Mandelmann Michel Corboz (born 14 February 1934) is a Swiss conductor. He was born in Marsens, Switzerland and educated in his native canton of Fribourg. He studied vocal performance and composition at the conservatory in Fribourg. In 1953, he moved to Lausanne, where he became director of church music.Bach-cantatas.

Stradella wrote at least six baroque operas Le gare dell'amor eroico ossia l'Oratio Opera in three acts. Genova, Teatro Falcone 1679; revived Genova 2006. including a full-length comic opera Il Trespolo tutore. He also wrote more than 170 cantatas, at least one of which was based on a poem by Sebastiano Baldini, and six oratorios.

133Johann Nikolaus Forkel translated with notes and appendices by Charles Sanford Terry. Johann Sebastian Bach: His Life, Art, and Work New York: Harcourt, Brace and Howe; London: Constable. 1920, pp. 198–199 Questionable chronologies and minor differences aside, they followed in Spitta's footsteps praising Bach's so-called "later" chorale cantatas as an epitome of the composer's art.

His works continued to be staged during the festivities given in Versailles, Sceaux, and Fontainebleau for more than thirty-five years. He also wrote several cantatas and motets, notably De profundis. De Bury received a royal pension beginning in 1779, and was ennobled by Louis XVI in 1785, a few months before his death, which occurred at Versailles.

Ablaberdyeva has made several recordings including Stravinsky's Les Noces, several cantatas by Giovanni Battista Pergolesi and Antonio Vivaldi, art songs by various Russian composers, and numerous works by J.S. Bach, Henry Purcell and George Frideric Handel, mostly on the Melodiya label. A CD of songs by Tchaikovsky was made at All Saints Church, Tudely, Kent, UK.

Ebert was the author of the hymn "Du Friedefürst, Herr Jesu Christ", which appeared in 1601 with a melody by Bartholomäus Gesius. Composers using this hymn included Dietrich Buxtehude (BuxW 20 and 21) and Johann Sebastian Bach, who based a chorale cantata on it, Du Friedefürst, Herr Jesu Christ, BWV 116, and used it in several other cantatas.

Rising nationalism contributed to a deeper interest in folk music, from both ideological and aesthetic viewpoints. The eighteenth century saw the adoption of folk tunes into so-called "high genres", such as symphonies, cantatas, oratorios and opera seria. However, the desire to create a high "para-liturgical" genre, comparable with Western European masses, requiems and passions, remained unfulfilled.

She took part in Historically informed performances, such as Maasaki Suzuki's project to record all cantatas by Bach, and the Baroque Opera Project of Ryo Terakado. A reviewer of volume 26 of Suzuki's project, which includes Schmücke dich, o liebe Seele, BWV 180, praised her for "her clear upper range and refinement of detail in remarkably well-focused singing".

Prior to World War I, he occupied himself with setting Czech and German symbolist poetry to music, then he drew inspiration from folk poetry. After the war, he turned towards a more humanistic philosophical reflection, creating three well-known cantatas: Cantata of the Last Things of Man (', 1920–22), Blessed Be Man (', 1933), and the Czech Requiem (', 1940).

The tone poem (pub. 1933, Manx for "Dear Isle of Man") was based on four Manx folk tunes, and is one of two works written originally for wind band by Wood. The work is also occasionally performed in its orchestral version. Choral pieces include the short cantatas for chorus and orchestra Lochinvar (1912) and Ode to Genius (1940).

Schletterer composed mainly songs, cantatas and choral music. He published several books about the history of music, including Die Entstehung der Oper ("The Origin of Opera"; Nördlingen 1873); Studien zur Geschichte der französischen Musik ("Studies on the History of French Music"; Berlin 1884/85) and Die Ahnen moderner Musikwerke ("The Ancestors of Modern Musical Works"; Leipzig 1882).

Following his return, he studied music theory with Otakar Šín and Jaroslav Křička at the Prague Conservatory. He graduated in 1943. From 1956 he worked at the Czech Ministry of Education and taught composition and music theory at the Prague Conservatory. He composed two operas, an operetta, four symphonies, chamber music, cantatas, songs cycles and theatre music.

Bach composed the cantata in his second year in Leipzig for St. Michael's Day. That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724. The feast celebrated the Archangel Michael and all the angels each year on 29 September. In Leipzig, the day coincided with a trade fair.

Ars Rediviva - Milan Munclinger (excerpt from Sláma, František, Z Herálce do Šangrilá a zase nazpátek (From Herálec to Shangri-La), Orego, Říčany 2001. With the PSO, he made recordings of the Johannes Passion and the St Matthew Passion under conductor Jindřich Rohan. He also recorded several Bach cantatas with Ars Rediviva under the baton of Milan Munclinger.

Hermenegildo Sábat, Oscar Strasnoy, Matthew Jocelyn (2012) Oscar Strasnoy (born November 12, 1970) is a French-Argentine composer, conductor and pianist.John Simon Guggenheim Memorial Foundation (2008) p. 183 Although primarily known for his stage works, the first of which Midea (2) premiered in Spoleto in 2000, his principal compositions also include two secular cantatas and several song cycles.

Charles-Antoine Campion, L'Etruria fortunata, facsimile of the autographed full score edited by Stefania Gitto, Kuno Trientbacher & Hans Ernst Weidinger, Wien, Hollitzer, 2013. It is also important to mention the non-celebratory profane cantatas T'amo bell'idol mio, for voice and instruments (conserved at the Conservatory of Florence), and the epithalamic cantata written for the Pichi family, today in Ancona.

The duration is given as 17 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe of the later version. The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4). The continuo, playing throughout, is not shown.

Nelson is a graduate of New York University, where he studied James Joyce. Nelson has collaborated with Murray Boren on the following operas, cantatas, and song cycles. He wrote the libretto for an Easter cantata in 1991. He wrote the libretto for a one-act opera adaptation of Joyce's Dubliners entitled The Dead which was staged in 1993.

He then started study toward a Bachelor of Music degree. He graduated with distinction in 1897 and became a successful composer. Cantatas such as Judah in Babylon, The Gardens of the Lord, and Bethany were well received. His music is attractive partly because of its simplicity and expressive qualities but also for its originality and directness.

His output includes church music of all types, cantatas, songs, instrumental works, and orchestral music. The greater part of his life was devoted to the advancement of the standards of ecclesiastical music. Some of it has been recorded on the Priory label. His Magnificat and Nunc dimittis in D major are in the standard repertoire of Anglican church music.

Hans-Joachim Schulze (born 3 December 1934) is a German musicologist, a Bach scholar who served as the director of the Bach Archive in Leipzig from 1992 to 2000. With Christoph Wolff, he was editor of the Bach-Jahrbuch (Bach yearbook) from 1975 to 2000. He published an introduction to all cantatas by Johann Sebastian Bach in 2006.

The orchestra was founded by graduates of the Franz Liszt Academy of Music in Budapest and established in 1977 as septet. It developed into a sixteen person string orchestra, which was awarded first prize in 1982 at the International Chamber Orchestra Competition in Belgrad.Budapest Strings (Instrumental Ensemble). History of the orchestra on the website Bach Cantatas.

BWV 10 is the fifth of 40 chorale cantatas he started that year. The outer movements of the cantata are set for mixed choir and an orchestra consisting of trumpet, two oboes, strings and continuo. Luther's translation of Luke 1:46–48 is the text of the first movement. The canticle's doxology is the text of the last movement.

Beginning in 1777 he was composing religious works for Saint Stephen's Cathedral. In the 1780s he became a prolific composer of incidental music for plays and singspiele. His best-known singspiel is Der Dorfbarbier, which premiered in 1796. His other compositions include numerous cantatas, ten symphonies, several concertos (including a well-known one for harp), and five string quartets.

Madetoja (c. 1930s) The following is a list of the works of the Finnish composer Leevi Madetoja. In total, his oeuvre comprises 82 works with opus numbers and about 40 without. While Madetoja composed in all genres, he found his greatest success with the orchestra: symphonies, operas, cantatas, and orchestral miniatures all flowed from his pen.

Ziegler published the text in a collection of her work, along with the other ones set by Bach.Christiane Mariane von Ziegler (1728). in gebundener Schreib- Art. Leipzig These printed versions are slightly different from the texts used in the cantatas, and this is believed to be the result of the composer modifying the libretti with which he was presented.

Some of the now unemployed musicians were soon hired by young prince Leopold, who had just returned to Köthen after his Grand Tour in Italy. In 1714, he founded a Hofkapelle, and appointed Stricker to be its director (Kapellmeister). Stricker would hold this post for about three years. In 1715, he published a volume of six Italian cantatas.

Jürgen Jürgens (5 October 1925 – 4 August 1994) was a German choral conductor and academic teacher. Born in Frankfurt am Main, he founded the award-winning Monteverdi-Chor Hamburg 1955. They recorded for Archiv Produktion, focussing on works of Claudio Monteverdi. Later the choir became involved in the Telefunken/Teldec Bach cantatas project with the Leonhardt-Consort.

These choral societies performed cantatas and other varieties of vocal music in the Dutch language. A number of these choirs were established to aid the introduction in 1807 of the new "Evangelische Gezangen", a supplement to the Psalms. Others however had a much more ambitious agenda. These choirs performed, often with orchestral accompaniment on the main Christian holy days.

Aside from that, he wrote chamber music above all, among which ten string quartets stand out. Others of his remaining works include a piano concerto and a flute concerto, numerous shorter orchestral pieces, predominantly small piano works, as well as the oratorio "Das Memorandum", the opera "Plautus im Nonnenkloster" after Conrad Ferdinand Meyer and several cantatas.

The association has more than seventy members. The oldest and best known member festival is the Edinburgh International Festival, which began in 1947. Its annual program features classical music, opera, theater and dance. International Festival Wratislavia Cantans is held in the Polish city of Wroclaw focusing on oratorios and cantatas from Bach to Handel and their contemporary Pawel Mykietyn.

For the in A major, BWV 234, scored for flute, strings, SATB, and basso continuo, Bach parodied music from at least four earlier cantatas. In 1818 this was one of a very few of Bach's compositions for voices and orchestra to appear in print prior the Bach Gesellschaft complete edition in the second half of the 19th century.

In operas by Alban Berg, she performed Countess Geschwitz in Lulu and the soprano part of Marie in Wozzeck. From 1982, Gilles has been a professor at the Musikhochschule Hannover. She was also a stage director for opera. Gilles was one of the soloists for the series of broadcasts and recordings of Bach's cantatas with Diethard Hellmann.

He used the model for the alto aria again much later for the of his Mass in B minor. In the first complete edition of Bach's works, the of the , the work was included under the cantatas (hence its low BWV number), and in the Bach Compendium it is numbered BC D 9 and included under oratorios.

Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his St John Passion, St Matthew Passion, and cantatas). Bach transcribed six of Vivaldi's concerti for solo keyboard, three for organ, and one for four harpsichords, strings, and basso continuo based upon the concerto for four violins, two violas, cello, and basso continuo.

As a composer, he followed the classic-romantic ideals. His numerous compositions include a symphony, string quartets, a violin concerto, cantatas, songs and choral pieces. Most notably, he wrote music for Goethe's Götz von Berlichingen and the orchestral work St. Hans Kveld.Iver Holter(Classical Composers Database) He was buried in Vår Frelsers gravlund in Oslo, Norway.

John Mathews bought the log building that was on the Riverside location and spent many hours directing cantatas. In 1897 a new brick school house was built in the west part of Benson. This school was built on a spot of land overlooking the Bear River. At first there were eight grades of school taught in two rooms.

John Field was among his teachers. At the age of 20 he became famous for his 'opera-vaudeville' Grandmother's Parrots (1819). Excited by the success he continued to compose light music for this currently fashionable genre and composed more than 30 of them. He also created a series of ballads for voice and piano, which he called cantatas.

Louis Gallet in 1892 Louis Gallet (14 February 1835 in Valence, Drôme – 16 October 1898) was a French writer of operatic libretti, plays, romances, memoirs, pamphlets, and innumerable articles, who is remembered above all for his adaptations of fiction --and Scripture-- to provide librettos of cantatas and opera, notably by composers Georges Bizet, Camille Saint-Saëns and Jules Massenet.

Andrejs Jurjāns (September 30, 1856 – September 28, 1922) was a Latvian composer and musicologist. He was Latvia's first classical composer, having composed instrumental pieces and cantatas. Jurjāns also studied and collected more than 6000 pieces of Latvian folklore, among them 3000 songs, which he compiled in six books, called Latvju tautas mūzikas materiāli (Materials of Latvian Folk Music).

He performed Ein Deutsches Requiem by Brahms and Haydn's Die Schöpfung. In 1975 he recorded Bach's Mass in B minor with the Dresdner Kreuzchor, conducted by Martin Flämig. He recorded Bach cantatas with Nikolaus Harnoncourt in 1982, including Mit Fried und Freud ich fahr dahin, BWV 125. He taught voice at the Musikhochschule Lübeck and in master classes.

Hilde Rössel-MajdanHer name is also spelled Hilde Rössl-Majdan and Hilde Rossel-Majdan. (30 January 1921 – 15 December 2010) was an Austrian contralto in opera and concert. She was a member of the Vienna State Opera and is known for early recordings of Bach's music including his cantatas. She was an influential voice teacher in Graz and Vienna.

For a year from the start of Advent 1724 Picander had published spiritual poetry in weekly editions, which he collected in 1725 as Sammlung Erbaulicher Gedanken. This caught Bach's eye who started using Picander's poetry for his cantatas from 1725, and used poems from Picander's first collection in his St Matthew Passion.Flossman 1899, p. 44–46Picander (=Christian Friedrich Henrici).

Savioni was one of the most prolific Italian cantata composers during baroque era. His works consist of large-scale cantata with several arias and recitatives. He composed about 180 cantatas, numerous motets, madrigals, Oratorio per ogni tempo and a spiritual opera in three acts, S. Agnese (libretto by Domenico Benigni), which was performed at the Palazzo Pamphilj in 1651.

Adalbert Kraus first graduated in German studies, theology, and philosophy and in 1967, began to study voice at the Hochschule für Musik Würzburg with Henriette Klink-Schneider.Adalbert Kraus on the bach-cantatas website He was a lyric tenor at the Staatsoper Hannover from 1970 to 1974. His roles included Andres in Berg's Wozzeck, Toni in Henze's Elegy for Young Lovers, and Lord Bucklaw in Donizetti's Lucia di Lammermoor. He sang the role of Peter Iwanow in a 1976 recording of Albert Lortzing's Zar und Zimmermann with Lucia Popp as Marie, Karl Ridderbusch as van Bett, and Hermann Prey as Peter I.Zar und Zimmermann on the operone website He frequently sang the tenor part in the complete recording of Bach cantatas and oratorios of Helmuth Rilling and the Gächinger Kantorei, also the Evangelist in his passions.

Although Mainwaring records that Handel wrote weekly when assistant to Zachow and as probationary organist at Domkirche part of his duty was to provide suitable music, no sacred compositions from his Halle period can now be identified. Mattheson, however, summarised his opinion of Handel's church cantatas written in Halle: "Handel in those days set very, very long arias and sheerly unending cantatas which, while not possessing the proper knack or correct taste, were perfect so far as harmony is concerned." translating . Early chamber works do exist, but it is difficult to date any of them to Handel's time in Halle. Many historians until recently followed Chrysander and designated the six trio sonatas for two oboes and basso continuo as his first known composition, supposedly written in 1696 (when Handel was 11).

In the Weimar version, Bach scored the cantata four vocal soloists (soprano (S), alto (A), tenor (T) and bass) (B), a four-part choir, and an orchestra of three trumpets (Tr), timpani (Ti), recorder (Fl) or flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), two violas (Va), bassoon (Fg), cello (Vc), and basso continuo (Bc). It is a festive, rich instrumentation for the holiday, whereas the previous two cantatas in Weimar had not employed brass instruments. Bach used the French string orchestra with two viola parts, as in most cantatas until 1715, when he started to prefer the Italian scoring with one viola. In Weimar, a recorder or flauto traverso doubled the first violin an octave higher; in the first Leipzig performance it was a flauto traverso.

Adele Stolte on Bach Cantatas, 2007 She recorded the oratorio Das Gesicht Jesajas (The Vision of Isaiah) op. 41 of Willy Burkhard, with Kurt Huber, Jakob Stämpfli and the Bern Symphony Orchestra conducted by Martin Flämig. In the recording of Bach's St Matthew Passion conducted by Erhard Mauersberger and Rudolf Mauersberger in 1962 she was the soprano soloist with Peter Schreier as the Evangelist, Theo Adam as the Vox Christi (voice of Jesus), Annelies Burmeister, Hans-Joachim Rotzsch and Günther Leib.Zwei Brüder in Harmonie (Two brothers in harmony) review 2005 (in German) She recorded Bach cantatas with Peter Schreier, Theo Adam, the Thomanerchor and the Leipzig Gewandhaus Orchestra conducted by Erhard Mauersberger, such as the cantata for Pentecost Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 in 1970.

Johann Sebastian Bach composed the church cantata ' ("Break with hungry men thy bread" or "Give the hungry ones thy bread"These two metrical translations are taken from recent published vocal scores: the first from , a Bärenreiter Urtext edition; the second from , a Carus-Verlag Urtext edition.), , in Leipzig and first performed on 23 June 1726, the first Sunday after Trinity that year. Three years earlier, on the first Sunday after Trinity in 1723, Bach had taken office as and started his first cycle of cantatas for Sundays and Feast Days in the liturgical year. On the first Sunday after Trinity in 1724, he began his second cycle, consisting of chorale cantatas. The cantata is regarded as part of Bach's third cantata cycle which was written sporadically between 1725 and 1727.

He was a champion of contemporary, mostly British, composers. Commissions and first performances were established in the 1950s and 1960s and included works by Stravinsky (Canticum Sacrum, guest conducted by Robert Craft, in 1956), Bruno Maderna, Luigi Dallapiccola, Peter Maxwell Davies, John Tavener, Anthony Milner, Stanley Glasser (sung in Zulu), Christopher Brown, Geoffrey Burgon and his own pupil Nicholas Maw. In conjunction with Joan Brocklebank, Steinitz also started another choral and chamber orchestral society in 1955, the Dorset Bach Cantata Club. At the time of its foundation, Steinitz was already contemplating the presentation of a more considered cycle of Bach's cantatas with his London Bach Society, and directing DBCC weekends not only enabled him to create more time to study and perform the cantatas but also to extend knowledge of them to a wider circle.

Bach composed the cantata in Leipzig for the feast of St. Michael (Michaelmas); it is his third and last of his extant cantatas for the feast, a feast celebrating the archangel and all angels. The prescribed readings for St. Michael's Day were from the Book of Revelation, Michael fighting the dragon (), and from the Gospel of Matthew, heaven belongs to the children and the angels see the face of God (). St. Michael, the archangel, has a prominent position in Lutheranism, as in Judaism. John Eliot Gardiner, who conducted all of Bach's church cantatas in 2000 on the Bach Cantata Pilgrimage, notes that the Sanctus, composed for Christmas 1724 in close relation to the text by Isaiah, and much later integrated to Bach's Mass in B minor, shows the relevance of angels for Bach's Lutheranism.

Emma Kirkby performing live at BBC Broadcasting House in 2012 Kirkby has made over 100 recordings, including madrigals of the Italian and English Renaissance, cantatas and oratorios of the Baroque, works of Mozart, Haydn and Johann Christian Bach. Some of her most noted recordings have included a 1981 recording with the Gothic Voices of sequences of Hildegard of Bingen, A Feather on the Breath of God; the Taverner Consort's 1984 recordings of Claudio Monteverdi's Selva Morale e Spirituale and Johann Sebastian Bach's Mass in B minor; and her 1980 recording of George Frideric Handel's Messiah conducted by Christopher Hogwood, which brought her international acclaim. The Messiah recording was later named one of the top 20 recordings of all time by BBC Music Magazine. Other recordings include Handel Opera Arias and Overtures 2 for Hyperion, Bach wedding cantatas for Decca, Bach Cantatas 82a and 199 for Carus; and four projects for BIS: with London Baroque, one of Handel motets and one of Christmas music by Scarlatti, Bach and others; with the Royal Academy Baroque Orchestra the first recording of the newly rediscovered Gloria by Handel; and with the Romantic Chamber Group of London, Chanson d'amour, an album of songs by the American composer Amy Beach.

In 1954, he received the Richard-Strauss-Preis of Munich. In 1955, he was appointed director of the Kirchenmusikschule in Berlin, at age 25. He founded in 1961 the and Bach-Collegium at the Kaiser-Wilhelm-Gedächtniskirche for regular performances of Bach cantatas, and conducted the groups to 1963. He was professor at the Musikhochschule Hamburg from 1971 to 1978.

He was a regular soloist with the Münchener Bach-Chor conducted by Karl Richter, performing and recording Bach's cantatas and Passions. Adam was praised for his robust voice, intelligent interpretation and stage presence, and sometimes criticized for abrasive tone quality, unsteadiness, and wobble. Adam taught voice as honorary professor at the Musikhochschule Dresden from 1979. Adam died on 10 January 2019 in Dresden.

At the conservatory in Copenhagen, Gade helped teach future generations, including Edvard Grieg and Carl Nielsen. In the spirit of Romantic nationalism, he composed eight symphonies, a violin concerto, chamber music, organ and piano pieces and a number of large-scale cantatas, among them Elverskud, the most famous Danish work of its kind."Gade, Niels W.", Eclassical.com. Retrieved 28 August 2010.

Eybler's main compositions were sacred music, including oratorios, masses, cantatas, offertories, graduals, and his requiem. His other works include an opera, instrumental music (especially his string quintets), and songs. Of special note may be the Clarinet Concerto (HV160) he wrote most probably for "Mozart's" clarinetist Anton Stadler. A recording of this concerto by Dieter Klöcker is available on the Novalis music label.

Osthoff's research on Franco-Flemish music of the 15th and 16th centuries resulted in numerous individual studies and the two-volume monograph on Josquin des Prez, which according to his biographer Wolfgang Osthoff is still considered a standard work and is only outdated in details. In addition to his scientific and editorial activities, Osthoff composed songs, cantatas and one string quartet.

Pasquale Errichelli (also Ericchelli or Enrichelli; 1730–1785) was an Italian composer and organist based in the city of Naples. Trained at the Conservatorio della Pietà dei Turchini, his compositional output consists of 7 operas, 2 cantatas, 1 symphony, 3 sonatas, several concert arias, and the oratorio Gerosolina protetta. He was for many years the organist at the Cattedrale di Napoli.

Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nänie. A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets.

Barker returned to South Africa in 1963 where she continued her singing career in opera, oratorio and cantatas for the four provincial arts councils as well as in broadcast media. She made additional guest appearances at the Royal Opera House in the 1970s. Prof Piet de Villiers was one of her accompanists. Joyce Barker died in Johannesburg on 23 May 1992.

She moved to western Massachusetts, and, in 1985, she founded Melodious Accord. The Musicians of Melodious Accord is a professional chorus that has released fourteen albums. The Melodious Accord Fellowship Program brings young mid-career musicians from all over the world to study with Parker. She has composed over 500 pieces of music, including operas, song cycles, cantatas, choral suites, and anthems.

He also composed The Patriot (1907), another one-act grand opera, to a libretto by Stange, set in the American War of Independence. He completed two more grand operas, Elfinella and Corinne, but these were unproduced. He was particularly proud of his sacred cantatas, including The Redeemer and Lazarus. His oratorio Mary Magdalene was not fully completed before his death.

The alto performs the last aria, "'" (Hallelujah, power and might)‘’, repeating and reinforcing the thoughts of the first. The music repeats the main section of the tenor aria, now accompanied by the organ. This close connection within the structure of the work of both the theme (3 and 6) and the instrument (1 and 6) is unusual in Bach's cantatas.

The gospel was the prescribed reading for Easter Monday in Lutheran Leipzig at Bach's time. He composed several church cantatas for the occasion, including the chorale cantata Bleib bei uns, denn es will Abend werden, BWV 6, in 1725. Josef Rheinberger composed in 1855 a motet Abendlied on a verse from the gospel narration, "Bleib bei uns" (Bide with us).

Handel then spent time in Rome, where the performance of opera was forbidden by Papal decree,Dean (1980), p. 86 and in Naples. He applied himself to the composition of cantatas and oratorios; at that time there was little difference (apart from increasing length) between cantata, oratorio and opera, all based on the alternation of secco recitative and aria da capo.Dean (1997), p.

In 1715 he returned to Munich, where he occasionally composed cantatas; and an opera annually. In 1726 Maximilian died, and his son Charles Albert succeeded him to the throne of Bavaria. For this occasion, Torri composed a musical tribute to the new ruler: the allegorical cantata Bavaria. This work alluded to an early Bavarian claim to the throne of the Holy Roman Empire.

The volume contained several texts set by Bach, including secular cantatas and the libretto for the St Mark Passion, BWV 247, which Bach had set in 1731. Volume III was reprinted in 1737. After the early 1730s there is only one extant Bach composition with a libretto that also appeared in one of Picander's poetry collections: the Peasant Cantata of 1742.

Gorczycki wrote mainly church music: unaccompanied compositions for choir, sometimes with b.c. accompaniment in the stile antico (motets, masses, songs), as well as vocal-instrumental works with b.c. accompaniment in the stile moderno featuring rich, concertato technique, multi-sectional and verse sacred concertos as well as ensemble cantatas. Gorczycki is regarded as an outstanding Polish composer of the high baroque.

She has specialized in early music of the Medieval, Renaissance and Baroque periods. Blažíková is a member of the Bach Collegium Japan, conducted by Masaaki Suzuki. She has recorded as a member of the choir and as a soloist in the project to record the complete cantatas by Johann Sebastian Bach. She appeared on volumes 43, 46 and 47 in 2009.

Their style is similar to opera of the period and includes dance-like music. Die Zeit, die Tag und Jahre macht is based on words by Christian Friedrich Hunold, whose pen name was Menantes. A novelist as well as a librettist, Hunold taught at the University of Halle, about from Köthen. Bach collaborated with him on several cantatas between 1718 and 1720.

Amongst others, the Spanish guitarist and composer Gaspar Sanz studied music theory under his tutelage. He is remembered for his cantatas, especially for the nativity season as well as instrumental interludes sometimes featuring spatially separated ensembles. His music continues to be played and recorded to the present day and stands as a testament to the quality of this Neapolitan baroque composer.

The duration is given as 27 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4) and alla breve (2/2). The continuo, playing throughout, is not shown.

Working reduced the time Griebel- Wandall had for composition, but she wrote a total of 103 works, ranging from songs and small piano pieces to cantatas and operas. She also wrote music theory publications and a novel. Her successful student Alice Shaw became her patron and funded the publication of four books of her compositions in 1928. Griebel-Wandall died in Buddinge, Gladsakse.

"'" (, Were God not with us at this time) is a Lutheran hymn, with words written by Martin Luther based on the Psalm 124. The hymn in three stanzas of seven lines each was first published in 1524. It was translated to English and has appeared in 20 hymnals. The hymn formed the base of several compositions, including chorale cantatas by Buxtehude and Bach.

Romain Rolland wrote that these anthems (or Psalms) stood, in relation to Handel's oratorios, much the same way that the Italian cantatas stood to his operas: "splendid sketches of the more monumental works". John A. Davis wrote that they contain "almost every type and style of Handel's music", and thus "present a rather comprehensive panorama of the composer's creative output".

Bach had taken up his tenure as Thomaskantor in Leipzig in 1723. During his first year there he composed a first cantata cycle for almost all occasions of the liturgical year. The second year he composed a cycle of mostly chorale cantatas, based on Lutheran hymns. The third year, Bach began a third cycle but wrote the works more irregularly.

He began to compose song cycles, cantatas, and wrote an opera.Vysloužil, p. 257 Following the Velvet Revolution in 1989, he began to participate in public life again, and worked as a member and director of various cultural institutions in the Czech republic. He was awarded a "Classic 1995" Award for his compositions and for his String Quartet No. 5 in particular.

Matthias Eisenberg (born 15 January 1956) is a German concert organist and harpsichordist, and a cantor. The award-winning player is known for performing concerts with clarinetist Giora Feidman. He has performed and conducted master classes internationally. He recorded, including the complete organ works by J. S. Bach and improvisations, and has conducted Bach cantatas from the harpsichord in collaboration with the Thomanerchor.

Bach arrived in Leipzig in 1723. He set about composing a series of cantatas for performance in the city's principal churches through the liturgical year. This one was written for the Third Sunday after Epiphany. The prescribed readings for the Sunday were taken from the Epistle to the Romans, rules for life (), and from the Gospel of Matthew, the healing of a leper ().

Lang recorded alto parts in Advent cantatas by Johann Sebastian Bach with John Eliot Gardiner in 1992. She sang the solo in Mahler's Third Symphony at the Royal Festival Hall on 12 December 2007 with the London Philharmonic Choir and Orchestra, conducted by Gennadi Rozhdestvensky. A review noted her "haunting, intense, totally engrossing 'O Mensch, gib Acht!'", with "immaculate phrasing".

Hellmann was born in Berlin, where she studied voice with Erika Garski.Claudia Hellmann on Bach Cantatas, 2007 She made her operatic debut in 1958 at the Bayreuth Festival in the parts of Wellgunde in Wagner's Der Ring des Nibelungen, 4. Edelknabe in Lohengrin and 1. Knappe in Parsifal. She sang there annually until 1961, including the part of Waltraute in Götterdämmerung in 1960.

The orchestra was founded in 1950 by Friedrich Tilegant, a student of Paul Hindemith. It was directed by Paul Angerer from 1971 to 1981, by Vladislav Czarnecki since 1986, and by Sebastian Tewinkel from 2002 to 2012.Pforzheim Chamber Orchestra on bach cantatas (2001) Since 2013, Timo Handschuh has served as the orchestra's chief conductor and artistic director.Südwestdeutsches Kammerorchester Pforzheim (n.d.).

Pipe organs were brought from abroad and constructed locally; the instrument built in 1682 in Leżajsk is of the highest quality. Many instrumental and vocal ensembles were active at various church institutions. Bartłomiej Pękiel composed polyphonic music including a cappella masses and the first in Poland cantatas. Stanisław Sylwester Szarzyński wrote instrumental music of which only one sonata has survived.

Matteo Messori was born in Bologna where he initially studied piano under the Arturo Benedetti Michelangeli pupil Franca Fogli and later organ and counterpoint with Umberto Pineschi, graduating cum laude. He studied harpsichord with Sergio Vartolo at the conservatories of Mantua and Venice, graduating again cum laude. He studied also musicology at the University of Bologna.Matteo Messori (Harpsichord, Organ , Conductor) bach-cantatas.

Wiederau manor was composed in Leipzig in 1737 by which time most of Bach's cantatas had already been completed. It was an homage to , who had acquired an estate at in Pegau near Leipzig. The work was performed on 28 September at Hennicke's . The libretto of the cantata was written by Christian Friedrich Henrici (Picander), a frequent collaborator of the composer.

The cantata text was published in 1728 in Ziegler's first collection, . The version set by Bach was slightly different, as he shortened the text here as in other cantatas by the same librettist. The music survived in a holograph manuscript, but was not published until 1876 when the cantata appeared in the Bach Gesellschaft´s first complete edition of Bach´s work.

Being a deeply religious Catholic, Zingarelli devoted most of his attention to masses, oratorios, cantatas, and motets. For Loreto he composed 541 works, including 28 masses. In 1829, aged 80, he wrote a "Cantata Sacra", based on Isaiah Chapter 12 for the Birmingham Music Festival. This was the occasion for the memorably inauspicious début of his protégé and representative Michael Costa, aged 19.

The text assembly is similar to Bach's early cantatas. The cantata is in seven movements which combine the three major text sources: psalm, hymn and contemporary poetry. The opening chorus is based on a psalm verse, followed by the first hymn stanza and another psalm verse as a recitative. An aria on poetry is followed by a third psalm verse as an aria.

His successor was , who also was the organist of the church. He established regular performances of the St Matthew Passion and the Mass in B minor from 1931 until shortly before his death in 1965, attracting listeners from the Nederlands and abroad. He studied facsimiles and tried to keep close to the composer's intentions.Anthon van der Horst (Conductor) bach- cantatas.

In the Bach year 2000, he performed in concerts in St. Martin, Idstein, including Bach's cantatas for Easter Erfreut euch, ihr Herzen, BWV 66, and for Pentecost Sunday Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, as well as songs such as "So oft ich meine Tobackspfeife", BWV 515, from the Notebook for Anna Magdalena Bach, also known as the "Pipe Aria".

The contract was for six years, but Rameau left before then and took up similar posts in Lyon and Clermont-Ferrand. During this period, he composed motets for church performance as well as secular cantatas. In 1722, he returned to Paris for good, and here he published his most important work of music theory, Traité de l'harmonie (Treatise on Harmony).

After Bandinelli's death in 1667 Appolloni was in the service of the Chigi family in Rome and Siena for the rest of his life. He wrote the librettos for a number of operas, the most well-known of which were Antonio Cesti's L'Argia and La Dori, as well as several oratorios and the texts for cantatas by both Cesti and Alessandro Stradella.

The cantata text was written by Johann Christoph Clauder. He refers to the events of the last months. While other congratulatory cantatas often use allegorical figures, this work concentrates on the king and his qualities. When Augustus II the Strong died, August III followed him as both elector and king, but had to secure the throne against partisans of Stanisław I Leszczyński.

The third cantata cycle encompasses works composed during Bach's third and fourth years in Leipzig, and include . It differs from the first two cycles, using fewer extant compositions. One characteristic of the third cycle is that Bach performed more works by other composers in addition to repeating his own, earlier works. His new works have no common theme, as the chorale cantatas did.

The procedure of using a simple repeating line in this manner was to be revived in the Baroque era, most often as a ground bass, and again in the cantatas of J.S. Bach.Einstein, Vol. 1 p. 285-6 Hoste also published a book of magnificats and motets; this one collection of sacred music (1550) appeared in Milan instead of Venice.

The cantata can be performed with only four singers, as in the recording by Joshua Rifkin, while other recordings feature a choir with multiple voices to a part. The following entries are taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.

Fleming wrote the hymn in nine stanzas "" (In all that I do) on the melody of "" by Heinrich Isaac, which is contained in several hymnals. Johann Sebastian Bach used the final stanza to close both cantatas ' (BWV 13) and Sie werden euch in den Bann tun (BWV 44). The complete hymn is the base for Bach's chorale cantata ' (BWV 97).Richard Stokes, ed.

Bernardo Pasquini Bernardo Pasquini (Massa e Cozzile, 7 December 1637 Rome, 21 November 1710) was an Italian composer of operas, oratorios, cantatas and keyboard music. A renowned virtuoso keyboard player in his day, he was one of the most important Italian composers for harpsichord between Girolamo Frescobaldi and Domenico Scarlatti, having also made substantial contributions to the opera and oratorio.

In addition to operas, Vinci wrote a few cantatas, sonatas, a serenata, and two oratorios (Oratorio di Maria dolorata ca. 1723 and Oratorio per la Santissima Vergine del Rosario ca. 1730). His sonata in D major for flute and basso continuo is still played today. He composed two sonatas for the recorder in addition to a recorder concerto in a minor.

Bach Cantatas website One of her three elder sisters (all born in Zeehan) died shortly after birth, and one of her three younger brothers died at age two. The family had moved to Western Australia by 1911. They lived firstly in Kununoppin and later in Boulder. Despite their poverty, her parents encouraged her musical development and she began music lessons at age 10.

Between 1663 and 1664 he wrote a cycle of cantatas for the church year. In each one of these, in addition to biblical verse there is a strophic aria, for which Pohle set odes by David Elias Heidenreich. Only one work from this cycle survives, Siehe, es hat überwunden der Löwe. In his sacred vocal works the influence of Heinrich Schütz is noticeable.

Goldman returned to California in 1957. In Los Angeles, he served as the musical director for The Bureau of Jewish Education. He also headed up the Los Angeles Opera Company and served as the cantor at University Synagogue. Despite living in a town which lacked the color and spirit of Cleveland, Goldman continued to compose a multitude songs and cantatas.

Among his well-known pupils are Leoš Janáček, Mathilde Kralik, Gustav Mahler, who studied with him between 1875 and 1878, Richard Robert, Hans Rott, and Alexander von Zemlinsky. See: List of music pupils by teacher#Franz Krenn. His compositions include masses, cantatas, oratorios, requiems, choral and solo songs, works for organ and piano, and symphonies. He died in Sankt Andrä- Wördern.

Next on his itinerary were Rome and Venice, where he spent 130 Thalers just for visits to the opera theaters. Later, he traveled to Florence, Turin, and finally Vienna, where he acquired a collection of twelve cantatas by Francesco Mancini. On 17 April 1713, Leopold returned to Köthen. In all, he spent the sum of 55,749 Thalers on his trips.

Boyle wrote an opera titled The Black Rose; nine orchestral works, including a "symphonic fantasia" and a piano concerto in D minor (premiered by Ernest Hutcheson), a violin concerto and a cello concerto;from 1917 at latest; . two cantatas;Including to words by Robert Browning. more than 30 songs; eight pieces of chamber music; and more than 70 piano pieces.

He started in 1951 to lead the East German section of the Neue Bach-Ausgabe, the second complete edition of Bach's works, whereas Dürr was the director of the West German section. Neumann added several volumes of cantatas to the project.Serie I: Kantaten Bach Bibliography, Queen's University of Belfast In 1974 Neumann became a member of the , the Saxonian Academy of Sciences.

She wrote nearly 3,000 songs, which she compiled into more than 108 albums. She also has written eight cantatas, two of which have been performed in the Salt Lake Tabernacle, and a number of musicals. She is a member of the Utah Composers Guild, and has traveled all over the world to perform her work, including to Japan and Taiwan.

The topic was the prescribed reading for the Second Sunday after Trinity and Twentieth Sunday after Trinity. For the first occasion Bach composed cantatas Die Himmel erzählen die Ehre Gottes, BWV 76 in 1723 and Ach Gott, vom Himmel sieh darein, BWV 2 in 1724. For the second occasion he wrote Schmücke dich, o liebe Seele, BWV 180 in 1724.

A cantata (; Italian: ) (literally "sung", past participle feminine singular of the Italian verb cantare, "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single-voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio.Kennedy, Michael "Cantata", The Oxford Dictionary of Music, second edition, revised (Oxford and New York: Oxford University Press, 2006) . Cantatas for use in the liturgy of church services are called church cantata or sacred cantata; other cantatas can be indicated as secular cantata .

Bach was promoted to on 2 March 1714, an honour that entailed performing a church cantata monthly in the : With the appointment, he received the title Konzertmeister and new privileges: Circumstances were favourable: Bach enjoyed a "congenial and intimate" space in the court chapel, called (Heaven's Castle), and a professional group of musicians in the court capelle. He was inspired by a collaboration with the court poet Salomon Franck, who provided the texts for most of his church cantatas, capturing a "pure, straightforward theological message" in "elegant poetic language". The first two cantatas Bach composed in Weimar based on Franck's texts were , for Palm Sunday, which coincided with the Annunciation that year, and for Jubilate Sunday. One month after Erschallet, ihr Lieder, Bach performed Ich hatte viel Bekümmernis, BWV 21, on the third Sunday after Trinity, again on a text by Franck.

Pfingstkonzerte junge kantorei (in German) He was bass soloist for two concerts of the Bachchor Mainz reviving church cantatas of Wilhelm Friedemann Bach in June 2010, remembering the composer's birth in 1710.Wilhelm Friedemann Bach (1710-1784) Aufführung wiederentdeckter Kantaten (Performance of re-discovered cantatas), Bachchor Mainz, 2010 (in German) Mertens has regularly appeared at international music festivals such as the Prague Spring International Music Festival, Maggio Musicale Fiorentino, Festival d'Aix-en-Provence and the Salzburg Festival. In 2006 he sang the bass part of Bach's St Matthew Passion, conducted by Enoch zu Guttenberg, at the Rheingau Musik Festival.Bach: Matthäus-Passion European Festivals Association, Rheingau Musik Festival, Germany, 2006 With the same ensemble he appeared in 2009 at the 12th Beijing Music Festival in major works of Joseph Haydn, The Creation, the Nelson Mass and The Seasons.

Bach-Collegium Stuttgart is an internationally known German instrumental ensemble, founded by Helmuth Rilling in 1965 to accompany the Gächinger Kantorei in choral music with orchestra.vita - fotos of Helmuth Rilling (in German) Its members are mostly orchestra musicians from Germany and Switzerland who get together for projects associated with the choir and also instrumental programs of their own.Bach-Collegium Stuttgart State Capital Stuttgart (in German)Bach-Collegium Stuttgart on bach cantatas (2001) The ensemble has performed at festivals such as the "Musikfest Stuttgart" of the Internationale Bachakademie Stuttgart, Salzburg Festival, Lucerne Festival, Prague Spring or Rheingau Musik Festival. Gächinger Kantorei and Bach- Collegium Stuttgart, conducted by Rilling, completed a first recording worldwide of Bach's cantatas and oratorios, a project of 15 years in collaboration with Hänssler Classic, in 1985 on the occasion of the composer's 300th birthday.

Paul was the third son of Nicholas, born in Eisenstadt. Elected Palatine in 1681 and created Prince of the Holy Roman Empire (in Hungary the title of Prince did not exist till the 20th century) in 1687 by the Emperor. Paul was a poet, a harpsichordist, and a composer; a number of his cantatas survive; see Harmonia Caelestis. He also wrote a number of religious works.

The first contains 30 strophic sacred songs, simple pieces in the Nuremberg tradition. The second contains 34 strophic secular songs, set somewhat more freely and in a more ornamented manner. The third part contains arias from five of Krieger's Singspiels: these pieces are the only surviving fragments of those large stage works. Out of Krieger's 235 known sacred vocal works only 33 survive, mostly cantatas.

In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged in the outer movements, here the first and the sixth, while an unknown contemporary librettist transcribed the ideas of the inner stanzas in poetry for recitatives and arias, which matched the style of Bach's cantatas of the first cycle. Bach first performed the cantata on 18 June 1724.

' (O pleasing melody), BWV 210.1 (formerly '),Work at Bach Digital website. is a secular cantata by Johann Sebastian Bach for a solo soprano. Bach wrote it in Leipzig as a "Huldigungskantate" (homage cantata) for Christian, Duke of Saxe-Weissenfels. First performed on 12 January 1729, the cantata became part of his repertory of congratulatory and homage cantatas, dedicated at least twice to different people and occasions.

Sir William Sterndale Bennett in 1861 In the later 19th century there was an increasing appetite for large scale works that covered epic, biblical and mythical themes. This was reflected in the topics of operas, cantatas and oratorios, often utilising British poems and novels. These included choral works like William Sterndale Bennett's The May Queen (1858),G. P. Upton, The Standard Oratorios (BiblioBazaar, LLC, 2008), p. 46.

Washington Bach Consort, Noontime Cantatas (visited Apr. 7, 2015) The Thomas Circle Singers (founded in 1976) have a dual mission that includes donating ticket proceeds to area non-profit organizations, and have been recognized for both community involvement as well as musicianship.Thomas Circle Singers, About Us (visited Apr. 7, 2015)Music: The Thomas Circle Singers 35th Anniversary Concert, Washingtonian, Events Calendar, May 14, 2011.

Prometeo (Prometheus) is an "opera" by Luigi Nono, written between 1981 and 1984 and revised in 1985. Here the word "opera" carries the generic Italian meaning of "works", as in work of art, and not its usual meaning. Indeed, Nono scornfully labels Prometeo a "tragedia dell'ascolto", a tragedy of listening. Objectively it can be considered a sequence of nine cantatas, the longest lasting 23 minutes.

André Campra André Campra (; baptized 4 December 1660 – 29 June 1744) was a French composer and conductor. Campra was one of the leading French opera composers in the period between Jean-Baptiste Lully and Jean-Philippe Rameau. He wrote several tragédies en musique and opéra-ballets that were extremely well received. He also wrote three books of cantatas as well as religious music, including a requiem.

Michael William Balfe in France. Michael William Balfe (15 May 1808 – 20 October 1870) was an Irish composer, best remembered for his operas, especially The Bohemian Girl. After a short career as a violinist, Balfe pursued an operatic singing career, while he began to compose. In a career spanning more than 40 years, he composed at least 29 operas, almost 250 songs, several cantatas and other works.

New works included the first two piano sonatas and initial versions of two cantatas on poems by René Char, Le Visage nuptial and Le Soleil des eaux.Samuel (2002), 421–22. In October 1951 a substantial work for eighteen solo instruments, Polyphonie X, caused a scandal at its premiere at the Donaueschingen Festival, some audience members disrupting the performance with hisses and whistles.Peyser (1976), 66.

Emin Sabitoglu is the author of a lot of works in different music genres. Particularly, he is the author of one symphony, three symphonic poems, three cantatas, string quartet and a poem for violin and fortepiano. But some music genres make up the main part of his creativity. He is the author of more than 600 songs, nine musical comedies, author of songs for many films.

Joseph Bodin de Boismortier Joseph Bodin de Boismortier (23 December 1689 – 28 October 1755) was a French baroque composer of instrumental music, cantatas, opéra-ballets, and vocal music. Boismortier was one of the first composers to have no patrons: having obtained a royal licence for engraving music in 1724, he made enormous sums of money by publishing his music for sale to the public.

It has been very well received by the press. Previous recordings with Opera Fuoco include The Romantic Cantatas with Karine Deshayes, Johann Christian Bach's opera Zanaida, and two Handel oratorios, Semele and Jephtha. He also recorded Simone Mayr's Medea with the St. Gallen Opera. In 2020, he recorded with NDR Philharmonie Hannover and the soprano Ania Vegry a Gassmann opera arias program for CPO.

Later he studied privately with Peter Schreier, Hermann Christian Polster and Helmuth Rilling. After graduation, he worked as a cantatas and oratorio singer. In 1979 he was appointed by Hans-Joachim Rotzsch as vocal coach of the Thomanerchor, serving also as a deputy and interim cantor in 1992, 1999 and 2002/03. In 2011, he served as an interim conductor for Georg Christoph Biller.

He recorded Bach's solo cantatas for bass BWV 56, 82, and 158 with the Thomanerchor, conducted by Michael Schneider and his orchestra La Stagione. Increasingly, Schwarz has appeared as a conductor. He founded his own ensembles Concerto Vocale Leipzig in 1984 and the Sächsisches Barockorchester (Saxon Baroque Orchestra) in 1990. As a guest conductor he worked with the choir and orchestra of the Gewandhaus.

Her works of curation are a significant contribution to Western culture. Princess Anna Amalia (1723–1787) was a Prussian composer and score curator known for her chamber works, which included trios, marches, cantatas, songs and fugues. Elisabeth Olin (1740–1828) was a Swedish opera singer and composer. She debuted as Alfhild in Syrinx referred to as Sweden's first native Opera comique, at Bollhuset in 1747.

The bassoon is called for, but has no independent part. The duration is given as about 15 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, and the abbreviations for voices and instruments the list of Bach cantatas. The keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4).

Valdemārs Ozoliņš (5 November 1896 Vestiena parish - 15 February 1973, Pueblo, Colorado, USA) was a Latvian composer and conductor. Composer Valdemārs Ozoliņš Valdemārs Ozoliņš songs have been treasured by choirs ever since his triumphant debut during the VI Latvian Song Festival in Riga, Latvia in 1926. The author of about 500 songs and several cantatas, Valdemārs Ozoliņš was chief conductor at several Latvian Song Festivals.

He also wrote Nine Wood-reliefs with Colours, music for paintings by Norwegian painter and sculptor Dagfinn Werenskiold (1892–1977) .Biography on Listen to Norway In 1937, he composed Draumkvædet and some cantatas. He composed music for orchestra, chamber ensembles, and choir and orchestra similar to Faure's Requiem. The most important work that stemmed after World War II were the Seven Songs to Poems.

Johann Sebastian Bach used his hymn "Jesu, nun sei gepreiset", in three stanzas of 14 lines each, for New Year's Day, in three cantatas composed in Leipzig for the occasion, first Singet dem Herrn ein neues Lied, BWV 190 (1724), a year later the chorale cantata Jesu, nun sei gepreiset, BWV 41 (1725), and Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (1729).

When his father, Myles Birket Foster died, the artist son's obituary was published. In 1864, he married Francis Watson, the daughter of Dawson Watson, and sister of the artist John Dawson Watson.The Launceston Examiner, 30 March 1899, p.5 Their eldest son, Myles Birket Foster (1851-1922), was an organist who composed cantatas for children's voices and wrote a History of the Philharmonic Society, 1913.

Markus Forster is a classical singer of the voice types altus and countertenor, especially in Early music and Baroque music. Born in Innsbruck, Forster studied at the Mozarteum, where he graduated with the concert exam in 1995. He recorded several works by Johann Sebastian Bach with various conductors and ensembles, namely his cantatas with the J. S. Bach-Stiftung in St. Gallen of conductor Rudolf Lutz.

He was a boy soloist in several recordings in the series of the Complete Cantatas by Johann Sebastian Bach, conducted by Harnoncourt. After his voice broke in 1986, he became a bass and became noted in the 1990s for his Bach and Mozart recitals. He joined the National Opera Studio of London in 1997. In 2001 he represented Greece at the Cardiff Singer of the World competition.

At his death Drysdale had almost finished a grand opera, provisionally entitled Fionn and Tera, to a libretto by the Duke of Argyll; the orchestration was completed by David Stephen. Many other works were left in manuscript, including The Oracle and other light operas, a romantic opera, Flora Macdonald, several cantatas, orchestral, piano and violin pieces, and songs. His archive is in Glasgow University Library.

The hymn has belonged to core Lutheran hymnody without interruption and is part of the Protestant hymnal Evangelisches Gesangbuch as EG 364. It has been set to music throughout centuries, including by Johann Sebastian Bach, who based a chorale cantata on it, Was mein Gott will, das g'scheh allzeit, BWV 111, and used the first stanza as a chorale in the St Matthew Passion and several cantatas.

In 1725, Bach typically composed alternating recitatives and arias in his cantatas, both on contemporary poetry. The text for this work is in an older style, with biblical texts interspersed with arias. Bach followed it, using different musical forms for the biblical quotations. The opening chorus on psalm verses is an adaptation of his overture to his fourth Orchestral Suite in D major, BWV 1069.

BWV 39, BWV 73, BWV 243, BWV 245, and BWV 248). and also performed Henri Dumont, Marc-Antoine Charpentier, Jean-Baptiste Lully, Heinrich Schütz and Jean Gilles.He recorded Jean Gilles' Requiem (with (Agnès Mellon, Howard Crook, and Hervé Lamy). From the mid-1990s much of his career was dedicated to the recording of Bach's complete cantatas with the Bach Collegium Japan, directed by Masaaki Suzuki.

Roman Toi (June 18, 1916 – May 7, 2018) was an Estonian-Canadian composer, choir conductor, and organist. Influenced by Ralph Vaughan Williams, Toi's music is melodic, lyrical, and melancholic in style. His compositional output includes nine cantatas (composed 1953–77), three symphonies (1969, 1972, 1974), and more than 80 choral works. Many of his compositions have become part of the standard Estonian choral repertoire.

As with other Bach cantatas written for the Feast of St. Michael, this work opens with an "imposing" chorus. The opening and closing section of this da capo movement focuses on a single line of text describing the battle against the forces of evil. The middle section sets the remaining five lines of the text. The movement includes no instrumental introduction, creating an "immediate dramatic effect".

He was also teacher in the Fair song at the Practical-Theological Seminary at the University of Oslo (1890-1916). Cappelen was known as a highly skilled organ player and improviser, and he gave concerts all over Norway. As a composer he is within the romantic era, and was influenced from Mendelssohn and Schumann. He published some songs, piano pieces, organ works, cantatas, and more.

Movements 3 and 5 are used in the Missa in F major. The bass voice in movement 4, marked arioso by Bach himself, is treated similarly to the , the voice of Jesus in Bach's Passions and cantatas. The bass part has been recorded by singers who do not specialise in Baroque music, such as Dietrich Fischer-Dieskau with conductor Benjamin Britten at the Aldeburgh Festival.

Servaes de Koninck, or Servaes de Konink, Servaas de Koninck or Servaas de Konink, or Servaes de Coninck (1653/54 – c.1701) was a Flemish baroque composer of motets, Dutch songs, chamber and incidental music, French airs and Italian cantatas. After training and starting his career in Flanders he moved to Amsterdam in the Dutch Republic, where he was active in circles connected to the Amsterdam Theatre.

He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office. The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative ... as a dramatic ".

The cantata is in twelve movements, divided in two parts, to be performed before and after the sermon. In his translation of Alfred Dürr's standard work on Bach's cantatas, Richard D. P. Jones describes the over-all mood of the cantata as "joyful, relaxed and unproblematic", with a dance-like character appearing in the arias. A performance of the cantata takes around 40 minutes.

Jesus is then addressed as a stone beyond all gems. The cantata text is a dialogue of Jesus and the Soul and concludes with a duet, asking to reject the "world" and follow Jesus. This cantata is the earliest extant example of a dialogue, used again in Bach's third annual cycle of cantatas written in Leipzig. Bach first performed the cantata on 30 December 1714.

He occasionally attempted to compose cantatas to Vinařický's words. Following his ordination in 1825, he briefly served as a chaplain in Cerhovice and Žebrák. In 1835 he moved to Zdice, where he served as a priest for the rest of his life. During his active career he maintained contacts with several Czech artists and poets such as Josef Jungmann, Šebestián Hněvkovský and brothers Jan and Vojtěch Nejedlý.

Internationally recognised baroque specialist Professor Peter Walls directed performances of early 17th-century Venetian vespers and masses, music for the coronation of James II, Mozart orchestral masses, Bach and Buxtehude cantatas, Purcell and Handel anthems, many performed in conjunction with period instrument ensemble The Baroque Players. The group also staged performances of Purcell's Dido and Aeneas and Blow’s Venus and Adonis. These performances received high critical praise.

Graf appeared as a soloist in several Bach cantatas in the series conducted by Fritz Werner, and also in 1966 Bach’s Ascension Oratorio alongside Barbara Scherler, Kurt Huber and Jakob Stämpfli. She recorded Bach’s first version of the Magnificat with Bruno Maderna in 1971, alongside Hildegard Laurich, Adalbert Kraus and Michael Schopper. She recorded Handel’s Messias for the label Cantate and Mozart’s Requiem for Pallas.

Paul Steinitz OBE (25 August 1909 - 21 April 1988) was an English post-war interpreter of Johann Sebastian Bach's music. He founded the London Bach Society and Steinitz Bach Players, performing among other significant Bach projects, a complete cycle of Bach’s cantatas in mainly London venues over the space of 29 years, the first public cycle of the extant church and secular works in the UK.

The cantata was a highly successful genre in the early 18th century. The French cantata, which should not be confused with the Italian or the German cantata, was "invented" in 1706 by the poet Jean-Baptiste RousseauGirdlestone p. 55 and soon taken up by many famous composers of the day, such as Montéclair, Campra, and Clérambault. Cantatas were Rameau's first contact with dramatic music.

Bach composed this cantata in his second year in Leipzig for the first day of Pentecost (Whit Sunday). The prescribed readings for the feast day were from the Acts of the Apostles () and the Gospel of John, part of the Farewell discourse (). The librettist for this work was Christiana Mariana von Ziegler. She collaborated with Bach on nine cantatas after Easter 1724, beginning with .

Bach Digital Work at Bach Digital websiteMaria Zadori, Kai Wessel, David Cordier, Wilfried Jochens, Hans-Georg Wimmer, Stephan Schreckenberger, Harry van der Kamp, Rheinische Kantorei, Das Kleine Konzert and Hermann Max (conductor) Missa Brevis "Allein Gott in der Höh sei Ehr". Capriccio, 2004 This characteristic sets BWV 10 apart from Bach's other chorale cantatas, which as a rule contained quotes from Lutheran hymns, not from biblical prose.

Majesty Music also supported an Adventures of Patch the Pirate radio broadcast, recognized by the National Religious Broadcasters as the country's third largest religious program for children, airing on more than 450 stations.Patch the Pirate website. Besides the Patch the Pirate material, Majesty Music has sold its own hymnals, sheet music, cantatas, and vocal and instrumental CDs and DVDs, some of them in Spanish.Majesty Music website.

Born in Oak Park, Illinois, she made her debut as a concert singer in Chicago after studies with Lola Fletcher. For twelve years she was a soloist with the Bach Aria Group, recording Bach cantatas and other works. She then moved to Italy to study operatic singing with Mario Cordone in Milan. She made her stage debut in 1961 at the Teatro San Carlo in Naples.

It was Puzone and Serrao who arranged the score for the posthumous premiere of Donizetti's Gabriella di Vergy at the Teatro San Carlo in 1869. Described as a rifacimento (re-doing), their score combined elements from both the 1826 and 1838 versions by Donizetti with the addition of music from some of Donizetti's cantatas and lesser-known operas.Ashbrook, William (1982). Donizetti and His Operas, pp.

Artemio Motta (ca. 1661 - 18th century) was an Italian composer of the Baroque period. Artemio Motta was a Catholic priest, born in Parma into a wealthy family. His musical output consists of 10 Concerti a cinque, Op.1 (published Modena: Fortuniano Rosati, 1701 and again Amsterdam: Estienne Roger, 1702) and a collection of Cantatas Cantate a voce sola, Op.2, (published Bologna: Marino Silvani, 1704).

He has also worked for broadcasters and wrote books. From 1993 to 2013 he lectured at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main. Eckert wrote from 1976 lyrics of Neues Geistliches Lied, producing more than thousand songs, ten oratorios, several Singspiele and cantatas. He was in 1975 founding member of the band , for which he has worked as songwriter, singer and manager.

She recorded Bach cantatas with Emmanuel Music, conducted by Craig Smith, and wrote translations for their performances. She recorded in 2002 a song cycle by Martin Boykan, A Packet for Susan (2000), with pianist Donald Berman. She recorded Harbison's WinterTale in 2012 with the Boston Modern Orchestra Project. In 2013 she recorded rarely performed Lieder, by Fanny Mendelssohn, Hélène de Montgeroult and Louis Spohr.

The music for the dialogue of Jesus and the Soul is more dramatic than in other church cantatas by Bach. Most of the recitatives are secco, as in the opera of the time, driving the action. John Eliot Gardiner sees Bach here as the "best writer of dramatic declamation (recitative in other words) since Monteverdi". The first aria is dominated by long vocal phrases.

Dienstag, 30. März 2010 Deutschlandfunk A performance on 11 May 2010 was aired by Austrian broadcaster ORF.2010 scheduled performances Lautten Compagney, official website. Retrieved 18 January 2011 At the Köthener Bachfesttage 2012 Grychtolik conducted the Mitteldeutsche Hofmusik ensemble in performances of the reconstructions of birthday cantatas Steigt freudig in die Luft, BWV 36a and Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a.

His works inspired by Christianity also include important compositions like the choral cantatas Los Siete Dolores de la Virgen (1920) and el Auto Místico de la Virgen de los Ángeles (1938). He also wrote five masses: la Misa Teologal en Sol Mayor (1928), la misa Corazón de María (1929), Ave María Stella (1932), la misa Ujarrás (1934) and la misa Vitis et Palmites (1948).

Mendes's compositions include cantatas, motets, orchestral music, incidental music, solo and chamber pieces, and some avant-garde works. Most of them are published by Alain Van Kerckhoven Editeur. In 1965, he founded the Santos New Music Festival. In the 1970s and 1980s, he taught at the University of Wisconsin–Milwaukee and the University of Texas , then was professor of music at the University of São Paulo (USP).

In 1766, he accompanied his father to Oxford University, where he graduated with a Bachelor of Music in 1773, while his father proceeded to a Doctor of Music. In 1773, he became the organist of St Matthew's Church, Walsall, a position he maintained until his death. Between 1770 and 1780, Alcock composed and published several songs, cantatas, and instrumental works, for both the harpsichord and strings.

She wrote a consecration cantata for the Sofia Church in 1906, and another cantata for the church in 1941. She also wrote several other cantatas as well as two tone poems for solo voices, choir and orchestra, one called Necken (to a poem by her uncle Gunnar Wennerberg) and the other titled Skogsrået (to a text by Viktor Rydberg) in 1915, were well received.

Giebel's repertoire consisted predominantly of sacred works of music such as cantatas, oratorios, passions, and masses and was considered to be one of the greatest Bach singers of her generation. As an interpreter of lieder she often performed with the pianist Sebastian Peschko. She was also known for her performance in Beethoven's Ninth Symphony under the direction of Otto Klemperer. Agnes Giebel lived in Cologne.

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, and the abbreviations for voices and instruments the list of Bach cantatas. The keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Rust's oeuvre comprises every genre of the time except symphony. He wrote several large choral works, 100 lieder, and pieces for clavichord, viola d'amore, harp, lute, and "nail violin". His cantatas, included Herr Gott, wir loben dich and Allgnädiger, in allen Höhen, and songs included Goethe's Wanderers Nachtlied. He composed a Schäferspiel, Korylas und Lalage, and technically demanding violin and piano works (including six sonatas).

The manuscript volume, Twelve Cantatas for Alto Voice and Basso Continuo (ca. 1730), has been published in modern edition by Deborah Hayes and John Glenn Paton (Fayetteville, AR: ClarNan Editions, 2012). The editors' preface includes a biography of the composer, notes on the cantata lyrics and music, and guidelines for performance. The edition also contains continuo realizations, poetic rendering of the lyrics in Italian, and English translation.

Trevor's first musical experience was singing in a church choir led by her father. She has performed frequently with the singers and players of the Taverner Consort, conducted by Andrew Parrott. They recorded Bach cantatas such as Christ lag in Todes Banden, BWV 4. Since March 1982 Trevor has been one of two regular singers in the alto section of the a cappella ensemble The Tallis Scholars.

Much of Bornschein's output is orchestral, including a number of suites as well as a violin concerto; he also wrote a good deal of chamber music, some songs, and some works for choir which won a handful of prizes. In larger forms, he wrote cantatas, oratorios, and operettas. Bornschein died in 1948; his papers are held at the library of the Maryland Historical Society in Baltimore.

He prepared six volumes of Bach's cantatas and keyboard pieces for publication as well as a nine-volume edition of his organ works. He did not complete his edition of Haydn's string quartets. Naumann was friendly with Brahms and Schumann. The similarity of Brahms’s music to that of late Beethoven was first noted in a letter from Albert Dietrich to Ernst Naumann on 5 November 1853.

Norman Orville Scribner (February 25, 1936 – March 22, 2015) was an American conductor, composer, pianist and organist.Aryeh Oron, Norman Scribner (Conductor, Organ), Bach Cantatas Website, September 2001 (visited Aug. 20, 2010), citing, inter alia, Baker's Biographical Dictionary of 20th Century Classical Musicians (1997) He was most widely known as the founder of The Choral Arts Society of Washington, and as its artistic director for over 45 years.

Christian Friedrich Henrici (January 14, 1700 – May 10, 1764), writing under the pen name Picander, was a German poet and librettist for many of the cantatas which Johann Sebastian Bach composed in Leipzig. Henrici was born in Stolpen. He studied law at Wittenberg and Leipzig. He wrote to supplement his income from tutoring and continued even after obtaining regular employment as a civil servant.

He then went to the Guildhall School of Music and Drama in London. Harvey is known for his performances of Bach. He was a soloist in the Monteverdi Choir's Bach Cantata Pilgrimage in 2000; he completed the bass parts in seventy cantatas in performance and recording. He has since contributed to the Bach cycle being recorded by the J. S. Bach-Stiftung with the conductor Rudolf Lutz.

Later in his life he became interested in quarter tone composition, especially after studying with Alois Hába. After working in the Czech Ministry of Information, he became professor at the Prague Academy of Music in 1950. Some of his 1940s and 1950s works, especially his cantatas, were written in praise of communism. His work was also part of the music event in the art competition at the 1948 Summer Olympics.

She made guest appearances at La Scala in Milan, La Monnaie in Brussels, the Monte Carlo Opera, also appearing in Dresden and Leipzig, the Holland Festival, and again at the Teatro Colón from 1949 until 1965.Bach cantatas She took part in the creation of contemporary works, notably Maurice Duruflé's Requiem and Darius Milhaud's Bolivar. She was also admired in Arthur Honegger's Antigone and Igor Stravinsky's Oedipus rex.(de) Operissimo.

Neues Bachisches Collegium Musicum was founded in 1979 by Max Pommer and Walter Heinz Bernstein.Walter Heinz Bernstein (Harpsichord, Clavichord, Organ) (Bach Cantatas Website) All musicians are members of the Gewandhausorchester. The ensemble collaborates with the Bach Archive in applying historical research to performances with modern instruments. The name refers to the which Georg Philipp Telemann founded in 1701 at the Leipzig University, and which Bach directed from 1729.

Victoria Tarquini, called La Bombace, the wife of the concertmaster Jean-Baptiste Farinel became the mistress of Ferdinando. (She may have been a daughter of Robert Cambert and had an affair with Handel.Harris, E.T. (2001) Handel as Orpheus: voice and desire in the chamber cantatas, p. 180.) By 1710 his health had begun to fail, and the annual operatic productions at Pratolino under his aegis (see below) ceased.

Ebenezer Prout's Hereward and King AlfredW. L. Hubbard, The American History and Encyclopedia of Music: Musical Biographies Part Two (Kessinger, 2005), p. 176. and cantatas like Sullivan and Henry Fothergill Chorley's The Masque at Kenilworth (1864),D. Shrock, Choral Repertoire (Oxford: Oxford University Press, 2009), p. 532. John Francis Barnett's Ancient Mariner (1867)Michael Musgrave, The musical life of the Crystal Palace (Cambridge: Cambridge University Press, 1995), pp. 107-8.

Title page of the scores for Louis Lully's Orphée and Henri Desmarets' Circé, published by Philidor in 1703 Henri Desmarets First name often spelled as Henry; surname variously as Desmarest, Desmaretz, Desmarais. See Wood (2001). (February 1661 - 7 September 1741) was a French composer of the Baroque period primarily known for his stage works, although he also composed sacred music as well as secular cantatas, songs and instrumental works.

Bertouch is remembered today for his collection of twenty-four sonatas in each of the twenty-four keys, of which only eighteen survive in a fragmentary manuscript.Modern edition: Georg von Bertouch, Sonatas a 3, ed. Michael Wilhelm Nordbakke, Recent Researches in the Music of the Baroque Era 144 (A-R Editions: Middleton, WI, 2006). Apart from these sonatas, three sacred cantatas dating from the early 1690s have been preserved.

In 2013-2014 He has collaborated with poet Kai Hoffmann-Krull in two cantatas for choir, orchestra and soloists: Lines of a Page, commissioned by the Norfolk Chamber Music Festival, and Words of Beginning, written for the 175th anniversary of the First Lutheran Church of Boston. He is currently collaborating with the acclaimed stage director and librettist András Almási-Tóth to write an opera based on a Hungarian folk tale.

The one-man music-theatre piece Night and Dreams: the death of Sigmund Freud was commissioned by the 2000 Adelaide Festival. Gerald English made many recordings, including the complete works of Monteverdi. He recorded cantatas by Telemann, Handel and Bach with the group Il Pastor Fido. Other composers he recorded include Andrew Ford, Peggy Glanville-Hicks, Vaughan Williams (The Pilgrim's Progress), Henry Purcell (Te Deum), John Dowland and Robert Schumann.

Like his father, Thomas Koppel became a classical pianist and composer. He wrote string quartets, a piano concerto, operas, cantatas, a ballet, symphonies and other orchestral works. At age 18 he completed his first opera The Story of a Mother, based on a tale by Hans Christian Andersen. Koppel composed the score in 1971 for the ballet Dødens Triumf (Triumph of Death) which was danced naked at the Royal Danish Theatre.

During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived, was performed as a stopgap, waiting for the arrival of Faustina Bordoni.

He undertook various research trips on the history of the Franco-Flemish music of the 15th and 16th centuries. After his Emeritus in 1964, he moved to Würzburg in 1973, where he worked on a volume of cantatas for the Neue Bach-Ausgabe until shortly before his death Osthoff was the father of the musicologist Wolfgang Osthoff (1927−2008). He died in Würzburg at the age of 86.

A second strand of K617's activity relates to music of Lorraine.Société d'archéologie lorraine et du Musée historique lorrain - 1997 "... et, avec la participation de la Région Lorraine, un disque a pu être édité par les éditions K617 de Metz. " This series has recovered various forgotten works of Théodore Gouvy (1819-1898): Requiem, Stabat Mater, dramatic cantatas (Elektra, Egill) and chamber music (string quartets and works for wind ensembles).

Langdon's works include, besides several anthems, Twelve Songs and Two Cantatas, opus 4 (London, unknown date); and Twelve Glees for Three and Four Voices (London, 1770). In 1774 he published Divine Harmony, being a Collection in score of Psalms and Anthems. At the end of this work are twenty chants by various authors, all printed anonymously; the first, a double chant in F, has usually been assigned to Langdon himself.

Ralf Popken (born 1962) is a German countertenor. He studied choral conducting, recorder, and singing at the Hochschule für Musik und Theater in Hannover and has since performed in concerts across Europe and the USA. He has made numerous radio recordings for Norddeutscher Rundfunk, Westdeutscher Rundfunk, and Dutch and Swiss radios and is noted for singing Bach cantatas. He debuted in opera at the Staatsoper Hannover in Hannover in 1989.

Großfahner is a municipality in the district of Gotha, in Thuringia, Germany. The town is known to music historians due to the 600 manuscripts from 1650-1750 copied by the church music director of the period - these include cantatas from forgotten Kleinmeistern such as Buttstedt, Friedrich Erhard Niedt, "Liebhold," Georg Friedrich Künstel and Johann Topf, as well as the only surviving copies of works by masters such as Pachelbel and Telemann.

While living in Leipzig Bach composed several cantatas for the Ratswechsel, the inauguration of the newly elected town council. This event took place in a festive service, which was not part of the liturgical year, on the Monday following the feast of St. Bartholomew on 24 August. In 1723, Bach's first year in Leipzig, he began the series with . Another cantata was performed in 1725, but only the text has survived.

She learned to play the harpsichord, flute, and violin as a young woman. She became the Abbess of Quedlinburg in 1755. She spent most of her time in Berlin, where she devoted herself to music, and became a musical patron and composer. As a composer she achieved a modest amount of fame and is most known for her smaller chamber works, which included trios, marches, cantatas, songs and fugues.

The London Chamber Orchestra's principal conductor, Christopher Warren-Green, has held the position of Music Director since 1988.London Chamber Orchestra The President of the Orchestra is Vladimir Ashkenazy and Rosemary Warren-Green is Education & Outreach Artistic Director.Bach-Cantatas The LCO receives no grants and is not supported by any public body. Instead, the orchestra depends upon its audiences and on the support of corporate sponsors and donors.

Poems on Several Occasions, vol.2, p.17 Single cantatas by Hughes were also set by Henry Purcell, Nicola Francesco Haym and George Frideric Handel, and an "Ode in Praise of Music" was performed in 1703 in a setting by Philip Hart. The ode was another favourite form used by Hughes, written in the pindarics popularised by Abraham Cowley, although in this particular he was at odds with his Augustan friends.

In his youth Florimo composed cantatas and masses. Among his later compositions, most notable are the Sinfonia funebre per la morte di Bellini (Milan, 1836) and his songs, many of which are in a popular Neapolitan style. Several collections of his songs appeared in the series Collezione completa delle canzoncine nazionali napoletane (published by Girard in Naples) and some songs were reprinted (ca. 1853) by Ricordi in Milan.

James Bates (November 16, 1952 – April 4, 2014) was an American organist and conductor, especially of Early music and Baroque music. Born in Pittsburgh, Bates studied at the Susquehanna University and continued at the Yale School of Music where he focused on organ and choral conducting. He recorded several Bach cantatas with the ensemble Carolina Baroque. He served as an academic teacher at Salem College, Greensboro College, and Averett University.

The melody, Zahn 159, was possibly composed by , edited by Nikolaus Selnecker when it appeared in 1587. As a general song of thanks and praise, the hymn was often reused by other composers. Dieterich Buxtehude composed a cantata, BuxWV 81. Johann Sebastian Bach used the chorale as the conclusion of two cantatas, his Weimar cantata for Trinity Sunday, O heilges Geist- und Wasserbad, BWV 165,BWV 165.6 bach-chorales.

Philipp Spitta, in his 19th-century biography of the composer, praised the chorale cantatas, but failed to see them as a cycle tied to 1724–25. It took about a century after Spitta before Bach's cantata cycles were analysed in scholarly literature, but then Bach's ambitious project to write a chorale cantata for each occasion of the liturgical year was characterized as "the largest musical project that the composer ever undertook".

In the 17th century, instrumental ensembles by students were formed. Georg Philipp Telemann, then a law student, founded the collegium musicum in 1701, which was later directed by Johann Sebastian Bach. Bach composed twenty works for university occasions, Festmusiken zu Leipziger Universitätsfeiern (Music for festivities of the Leipzig University), of which twelve cantatas survived. A second collegium musicum was founded in 1708 by Johann Friedrich Fasch, also a law student.

In 1824, he was parodied by Daniel Auber in the role of Signor Astucio in Le concert à la cour. He died at 67 in Paris in 1839. Paer wrote a total of 55 operas, in the Italian Classical styles of Paisiello and Cimarosa. His other works, including several religious compositions, cantatas, many songs and a short list of orchestral chamber pieces, are worthy of further study and performance.

Arthur Loesser at the Cleveland Arts Prize Website His pupils included Sergio Calligaris and Anton Kuerti. As a pianist, Loesser gave numerous concerts and recitals, his first during 1913 in Berlin.Arthur Loesser at Bach Cantatas He often coupled his recitals with lectures which were known for their wit. He was active during the 1920s and 1930s as one half of a piano duo with the famous conductor Wilfrid Pelletier.

In 2013 she recorded music from Vienna composed in 1709, a collection of rarely performed arias from operas by Pietro Baldassare, Attilio Ariosti, Giovanni Battista Bononcini and Johann Joseph Fux. A reviewer who called her an "increasingly valued performer of older music" noted her precision and focus. Together with Dominik Wörner she recorded Bach's Dialog- cantatas BWV 32, BWV 57, BWV 58, accompanied by the ensemble Kirchheimer BachConsort.

Miah Persson's discography includes Mahler Symphony No. 4 with Ivan Fischer and the Budapest Festival Orchestra, Mozart Mass in C minor KV427, Le nozze di Figaro, Cosi Fan Tutte, Mitridate, Rossini songs, Haydn's The Creation and The Seasons, the Requiems of Fauré and Duruflé, Handel's Rinaldo, Bach Magnificat and Cantatas BMV 105, 179 & 186, Michael Haydn Sancti Hieronymi, Fernström's Songs of the sea, and songs by Rangström, Stenhammar, Sjögren, Nystroem.

The tenor aria, "" (Ah, draw my soul with skeins of love), is accompanied by the transverse flute, probably played by the flauto piccolo player of the first movement. As for , written some weeks before, Bach seems to have had an excellent flute player at hand, whom he used in twelve cantatas in the fall of 1724. Some musicologists think that he was Friedrich Gottlieb Wild, a law student.

Alto and tenor start a fugue twice more, singing increasingly embellished lines on "" (most illustrious souls). Close to the end of the middle section all voices shout together the word (shout) twice, accented by a following rest. Then, the complete first part is repeated da capo. The lively finale in 3/8 time and with regular phrases, like the French gigue or passepied, is typical of Bach's secular cantatas in Köthen.

Kašpar Mašek Kašpar Mašek or Gašpar Mašek (6 January 1794 - 13 May 1873) was a Czech-Slovenian composer. The son of Vincenc Mašek, he was born and spent his early life in Prague and his later life in Slovenia, where he had a successful career as a composer for the theater. He composed operas, operettas, church music, and cantatas. Among his works are the patriotic Slovenian Overture (1870).

A third melody from 1608 became a hymn tune for several other songs and translations to English. In the German Protestant hymnal , the hymn appears as EG 257 with the second melody. Johann Sebastian Bach used the second and third melodies in chorale preludes, and the third also in cantatas and the St Matthew Passion. English versions include a translation by Catherine Winkworth, "In Thee, Lord, have I put my trust".

Born in Dresden, Marcus Ullmann received his first musical training as a choir boy in the Dresdner Kreuzchor. He studied at the Dresden Music Academy and graduated with honours in Lieder, Choral Work and Opera. He continued his studies in master classes with Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf and Theo Adam, among others. He recorded several Bach cantatas and Bach's Christmas Oratorio with Helmuth Rilling and the Gächinger Kantorei.

Iversens compositions have apparently been lost, but it is known that he composed several cantatas. The titles of these have been preserved, among them Forsynstempelet (English: Temple of Providence) from 1747. As cantor at the University, he also composed several works for various festivities at the university. Among these were a cantata from 1752 in memory of Queen Louise, who was married to King Frederick V and died in 1751.

Oberthür was the composer of over 450 works, most for or including the harp. He also published a useful harp method, his opus 36. His large-scale works have not been performed for many years and included the opera Floris de Namur (performed at Wiesbaden) and the cantatas The Pilgrim Queen, The Red Cross Knight, and Lady Jane Grey. As a harpist, he became "unrivalled as a virtuoso and teacher".

Bach scored the work for a small Baroque instrumental ensemble of originally just strings and continuo, probably intended to ease the workload of musicians for the Christmas season. In a later version, he added a trio of oboes to the outer movements. Bach counted the work as part of his cycle of chorale cantatas, which he had begun in 1724. It was presumably first performed on 5 January 1727.

Ralf Otto (born 1956) is a German conductor, especially known as a choral conductor and academic teacher. He founded the Vokalensemble Frankfurt, focused on contemporary music and winning competitions including Let the Peoples Sing. Since 1986, he has been director of the Bachchor Mainz, with a tradition of performing Bach cantatas in broadcast church services. He added late romantic and contemporary works to their repertoire and made international tours with them.

Born in Nuremberg, Birkmann studied theology and mathematics at the University of Leipzig from 1724 to 1727. He took part in cantata performances by Bach. According to research by Christine Blanken, published in the Bach- Jahrbuch in 2015, Birkmann wrote the texts of several Bach cantatas, including Ich will den Kreuzstab gerne tragen, BWV 56, and Ich habe genug, BWV 82. Birkmann was from 1727 minister of St. Egidien in Nuremberg.

It may have even been the case that the Christmas Oratorio was already planned when Bach wrote the secular cantatas BWV 213, 214 and 215, given that the original works were written fairly close to the oratorio and the seamless way with which the new words fit the existing music. Nevertheless, on two occasions Bach abandoned the original plan and was compelled to write new music for the Christmas Oratorio.

Bach Collegium Japan (BCJ) is composed of an orchestra and a chorus specializing in Baroque music, playing on period instruments. It was founded in 1990 by Masaaki Suzuki with the purpose of introducing Japanese audiences to European Baroque music. Suzuki still remains its music director. The ensemble has recorded all of Bach’s cantatas, a project that extended from 1995 to 2018 and accounts for over half of its discography.

Ferdinando Orlandi (7 October 1774 – 5 January 1848), also referred to as Orland and Orlando. Little is known of his early life and his year of birth is also cited as 1777. He was an Italian musician and teacher of singing who composed cantatas and sacred music (including four masses), but was particularly known for his operas, not all of which have survived. He was born and died in Parma.

Erato was distributed in the US on the RCA Red Seal label for many years. In 1992, Erato was acquired by Warner Music. In 1999, Erato launched a subsidiary named Detour Records. A large prestige project, the Koopman Bach cantatas project, was canceled mid- way after Warner also acquired Teldec in 1998, although the Dutch conductor was able to buy back his recordings and finish the project on his own label.

Born in Venice, Marcello was the son of a senator. As such, he enjoyed a comfortable life that gave him the scope to pursue his interest in music. He was a contemporary of Tomaso Albinoni. He held concerts in his hometown and also composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas.

The Madrigal Singers toured extensively during the 1950s. The BYU Oratorio Choir was formed in 1961, also under Halliday's direction, with the goal of performing oratorios, cantatas and similar large-scale ensemble pieces. Other BYU singing groups organized between 1951 and 1975 included the BYU Chamber Choir, the Golden Age Singers, the BYU A Cappella Choir, the BYU Opera Workshop Chorus, and Scola Cantorum.Ernest L. Wilkinson and Leonard J. Arrington, ed.

Born in Eschweiler, Altmeyer began his performance career while still a voice student at the Hochschule für Musik Köln, where he studied under Clemens Glettenberg from 1953 to 1956. His first successes were primarily as an oratorio soloist. He was hired by the Westdeutscher Rundfunk (WDR) to perform in several recordings of cantatas and other religious music. He went on to win second prize at the WDR's singing competition in 1955.

In 1993, Schulze was appointed Honorarprofessor at the University of Music and Theatre Leipzig. From 1975 to 2000, he was the co-editor of the Bach-Jahrbuch (Bach yearbook), together with Christoph Wolff. He has been a member of the Sächsische Akademie der Wissenschaften zu Leipzig since 2001. In 2006, he published Die Bach- Kantaten: Einführung zu sämtlichen Kantaten Johann Sebastian Bachs, an introduction to all cantatas by Johann Sebastian Bach.

The fugue is one of few instrumental fugues in Bach's cantatas. The first aria is given to the bass, who invites the Soul (and the listener) to "step upon the path of faith". It is accompanied by an obbligato oboe and seems to illustrate the path () in scales. The recitative is divided in two sections, following the contrast of "" (evil world) and "" (blessed Christian) in recitative and arioso.

' (To each his own!), ', is a church cantata by Johann Sebastian Bach. He composed the work in Weimar for the twenty-third Sunday after Trinity and first performed it on 24 November 1715. This work was part of Bach's sequence of monthly church cantatas for the Weimar court, which he began in 1714. It was the first piece performed after a mourning period of several months for Prince Johann Ernst.

Despite the fact that his works were preclassical in style, he was highly regarded as a composer in the 1780s, especially for his symphonies that follow the model of Mannheim school. Schmittbaur composed masses, cantatas, symphonies, string quartets, flute quartets, and other chamber music. He also wrote stage works. His first opera was the serenade L'isola disabitata, which reflects the influence of Niccolò Jommelli, who was active since 1753 in Stuttgart.

El-Shawan's compositions fall into three periods. In the first (c. 1945 – 1955) he wrote chamber music, the symphonic poem ‘Atchan Ya Sabay, his first symphony, the Opera ‘Antara, and music for two films. In the second period, (1955 – 1965), he composed large scale works, most notably the Piano Concerto, the Symphonic Pictures Abu Simbel, four patriotic cantatas for soloists and choral, the third symphony and several chamber works.

In 1851, about a century before the cantata got its BWV number, it was published as No. 7 in the first volume of the Bach-Gesellschaft-Ausgabe. In the New Bach Edition the cantata was included in Series I, Volume 29, Kantaten zum Johannisfest (Cantatas for St. John's Day). Calmus and Breitkopf & Härtel published performance scores. The Breitkopf score translates the cantata's title as Lord Christ of old to Jordan came.

Clearfield writes for opera, orchestra, chorus, chamber ensembles, dance and multimedia collaborations and has composed a number of large-scale cantatas. Her style is lyrical and rhythmically compelling, with lush harmonies and contrasting fields of texture and sound color. Her work on the Golem Psalms includes the practice of gematria which she embeds into the composition. Clearfield's piece, Unremembered Wings, is based on the poetry of Pablo Naruda.

The listing is taken from the selection on the Bach Cantatas Website. Recordings have traditionally been made by large symphonic groups, but increasingly in historically informed performances (HIP) by boys' choirs, chorales (, choir dedicated to mostly church music), chamber choirs or groups with on voice per part (OVPP), and matching instrumental ensembles playing on Baroque period instruments in historically informed performance. HIP and OVPPensembles are marked by green background.

476) and made a piano transcription of the "Air chanté par Massol" (S.477). Bertin did, however, continue to compose in many different genres. Her later compositions include twelve cantatas, six piano ballades, five chamber symphonies, a few string quartets, a piano trio (which includes themes from both her early Fausto and La Esmeralda), and many vocal selections. Of these, only the ballades and the trio were published.

He wrote cantatas while a student of Bach, for instance, around 1745–46, Durch die herzliche Barmherzigkeit, a church cantata for the feast of St. John the Baptist.Bach Digital Work at His output further includes six trio sonatas (among which previously attributed to Bach); keyboard music, including 24 polonaises, one in each of the major and minor keys; concertos for harpsichord; and a set of chorale preludes which has been lost.

Jean-Baptiste Drouard de Bousset (1662 - 3 October 1725) was a French baroque composer. He was born in Asnières, of minor nobility,Dictionnaire veridique des origines des maisons nobles ou anobles 1818 p335 and became maître de musique of the chapelle of the Louvre. He died in Paris. His son René Drouard de Bousset was a noted organist who also published two series of cantatas on biblical subjects.

Marie Taglioni in Bournonville's La Sylphide At the conservatory in Copenhagen he helped teach future generations, including Edvard Grieg and Carl Nielsen. In the spirit of Romantic nationalism, he composed eight symphonies, a violin concerto, chamber music, organ and piano pieces and a number of large-scale cantatas, among them Elverskud (The Elf King's Daughter), the most famous Danish work of its kind."Gade, Niels W.", Eclassical.com. Retrieved 11 March 2010.

Thamm recorded with the Windsbacher Knabenchor in 1961 Bach's cantatas Wer Dank opfert, der preiset mich, BWV 17 and Unser Mund sei voll Lachens, BWV 110, and in 1966 Wer nur den lieben Gott läßt walten, BWV 93, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 and Singet dem Herrn ein neues Lied, BWV 190. Soloists included Teresa Żylis-Gara, Peter Schreier, Franz Crass and Jakob Stämpfli.

While still young, he began composing cantatas, melodrammi, and a few instrumental pieces. Though the young Venetian never made it his profession to compose, it allowed him to expand his musicological studies and integrate himself in the music culture of his hometown. In 1811, Caffi and other music enthusiasts formed the Philharmonic Institute of Venice. The public school of music included concert halls, headquartering in the Saint Rocco and Margherita monastery.

Bach Cantatas BWV 102 & 151 Purcell Celebrate this Festival Peter Grahame Woolf, musicweb-international.com 2000 In 1968 he took part in a recording of Bach's Brandenburg Concertos with the ECO conducted by Britten.Bach: Brandenburg Concertos 1-6 / Britten, English Co arkivmusic.com Also with the English Chamber Orchestra and flutist Richard Adeney he recorded works of Gustav Holst, such as A Fugal concerto for Flute, Oboe and Strings, op.

Gustavo Becerra-Schmidt (August 26, 1925 – January 3, 2010) was a Chilean composer. Becerra-Schmidt was born in Temuco, studied in Santiago, and lived in Germany since 1973, where he taught at the University of Oldenburg since 1974. Becerra was a prolific Chilean composer. His catalogue includes hundreds of compositions that goes from the most traditional to the most avant-garde, from popular songs to large scale cantatas, symphonies and oratorios.

In 1807 he was appointed a member of the Royal Swedish Musical Academy; in the same year he made his debut as a musical director. Between 1808 and 1812 he worked as a Hofkapellmeister at the Royal Court Orchestra. He died at Thomestorp, Östergötland, Sweden, of tuberculosis, at the age of 34 years. The main part of his compositional creations are instrumental works like operas, cantatas, musical dramas and symphonies.

In February 2010 the Bach Archive and the publisher announced a revision of single volumes, in order to include new sources and findings. The first in this series of revisions was the Mass in B minor (updating the second volume of the NBE). Approximately 15 more volumes are planned, including Weimar cantatas (five works), the St John Passion, the motets, the violin sonatas, the cello suites and others.

At the heart of his work is a cycle of sacred cantatas – Bethlehem, The Nazarene, Bethany, Calvary and Olivet. By far the most successful was Bethany; first published in 1909, it quickly became his most celebrated piece. It was performed widely in the USA during the 1920s and 30s. After that its popularity seems to have dwindled fairly quickly; however a performance was given in Houston in 1955.

Claudia Sessa, Claudia Rusca, and Chiara Margarita Cozzolani were also active at Milanese convents during the same period. She had only one printed collection, Motetti a voce sola (1684, Venice), a book of solo motets. Kendrick identifies it as "remarkable among Milanese solo motet books…for its patent vocal viruosity, motivic originality and self-assured compositional technique".Norton/Grove There are also two surviving secular cantatas, Vuò cercando (ca.

In 1907 he joined the staff of the Academy as Professor of Composition and Harmony.Visitation of England His aunt Rosa Corder painted a portrait of Dante Gabriel Rossetti and Corder was strongly influenced by the Pre-Raphaelite movement. He composed operas, ballets, cantatas and piano works. Many of his orchestral works remain unpublished and unknown but some of his keyboard pieces were published and achieved some public attention.

Frank Edwin Ward (October 7, 1872 - 1953) was an American composer and organist. Born in Wysox, Pennsylvania, he was the son of author Cyrenus Osborne Ward, and the nephew of Lester Frank Ward. He was educated at Columbia University, and later served as its organist for some time. He wrote some works for orchestra and a deal of chamber music in addition to church music, cantatas, and songs.

As in most of Bach's chorale cantatas, the opening chorus is a chorale fantasia. The chorale tune was published in 1529 by an anonymous author in Wittenberg. The soprano sings this chorale melody line by line, doubled by the horn, as a cantus firmus to the independent concerto of the orchestra. The strings play "agitated dotted rhythms", the oboes "agitated semiquaver cascades" throughout the movement, supplying a sense of unity.

Upon his graduation in 1910, his operetta, "A Millionaire's Caprice," had its premiere on July 26, 1910 at the Teatro Eldorado of Naples and was produced throughout Italy. The same year DeLeone returned to America, to be Director of Music in the Municipal University at Akron, Ohio.Hipsher, American Opera, 158-159. During his career DeLeone composed cantatas, songs, and works for piano in addition to opera and operettas.

Filippo Amadei, also known as Pippo del Violoncello (fl. 1690-1730) was an Italian composer from Reggio Emilia, who was active in Rome and London.Haendel.it Filippo Amadei (Italian) He appears to have worked as composer of cantatas, oratorios, and as a cellist for Cardinal Ottoboni from 1690 to 1711, the year of his oratorio Teodosio il giovane (1711), then again from 1723 to 1729.Filippo Amadei Biography - (fl.

Benjamin Cutter (Woburn, Massachusetts September 6, 1857 – Boston May 10, 1910) was an American violinist and composer. He studied at the Stuttgart Conservatory in Germany, was later a member of the Boston Symphony Orchestra, then taught at the New England Conservatory of Music. His compositional output was mainly chamber music, but he wrote some cantatas and church music as well. He published several pedagogical books on violin playing and music theory.

He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, the notable player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas and symphonies. J. C. Bach's memorial, St Pancras Churchyard, London Bach lived in Italy for many years starting in 1750, studying with Padre Martini in Bologna. He became organist at the Milan cathedral in 1760.

One hundred seventy-six of his works are extant and have been catalogued. Some of them have been transcribed into modern score for performance and recording. All of his output is vocal, with villancicos and cantatas for different feasts of the Catholic liturgical calendar, as well as sacred works on Latin texts. Several of his compositions are available on CD, performed by Cristina Altamira and the Millennium Ensemble.

Schicht continued to work in Leipzig, serving as Thomaskantor, director of the Thomanerchor with responsibility for music in the city's churches. He was in post from 1810 until 1823, when he died, aged 69, in Leipzig. His most important work is a great choirbook from 1819. Besides that, he wrote masses, motets, cantatas, a setting of the 100th Psalm, four Te deums, one piano concerto, sonatas and capriccio.

He too regretted his father's choice for the court Kapellmeister. He asked Stölzel to provide music for the court chapel. Stölzel did however not comply to this request until 1730, when Freißlich was leaving for Danzig (where he was appointed in 1731). Until Günther's death in 1740 Stölzel provided music for the Sondershausen court, which included four cycles of church cantatas, other sacred music, and secular music such as serenatas.

438), and likewise the Bach digital website gives a description of both paintings as sources for the piece (linked from Bach digital Work page ). Johann Sebastian Bach composed cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, cello, flute, chamber ensemble and orchestra. There are over 1000 known compositions by Bach.

Luigi Nono wrote Il canto sospeso in 1955–56. Hans Werner Henze composed a Cantata della fiaba estrema and Novae de infinito laudes (both in 1963), as well as a number of other works that might be regarded as cantatas, such as Kammermusik (1958, rev. 1963), Muzen Siziliens (1966), and El Cimarrón (1969–70). Momente (1962–64/1969), one of the most important works of Karlheinz Stockhausen, is often described as a cantata. Benjamin Britten composed at least six works he designated as cantatas: The Company of Heaven (1937), Rejoice in the Lamb, Op. 30 (1943), Saint Nicolas, Op. 42 (1949), the Cantata academica, Op. 62 (1959), the Cantata Misericordium, Op. 69 (1963), and Phaedra, Op. 93 (1975). Alberto Ginastera also composed three works in this form: the Cantata para América Mágica, Op. 27 (1960), Bomarzo, Op. 32 (1964), and Milena, Op. 37 (1971), and Gottfried von Einem composed in 1973 An die Nachgeborenen based on diverse texts, the title taken from a poem of Bertolt Brecht.

His children's cantata The Daniel Jazz (1963), with lyrics by Vachel Lindsay, was much performed in schools during the 1960s and 1970s, and was recorded in 1974 by the Southend Boys' Choir.Three Pop Cantatas: The Daniel Jazz - Original 1974 recording It is a short vocal work suitable for school choirs, consisting of songs about people and events from the Book of Daniel in the Old Testament (which covers the period when the Jews were deported and exiled to Babylon by the Babylonian king Nebuchadnezzar), and was published by Novello in 1963. Spurred by its success, Novello commissioned a series of "pop cantatas" along the same lines by Michael Hurd (Jonah-Man Jazz, 1966), Andrew Lloyd Webber (Joseph and the Amazing Technicolor Dreamcoat, 1968) and Joseph Horovitz (Captain Noah and His Floating Zoo, 1970). Chappell himself followed up with a series of his own, including The Christmas Jazz, The Goliath Jazz, The Noah Jazz and The Jericho Jazz.

Trierer Bachchor (in German) He sang the St John Passion in Ulm with the choir Ulmer Kantorei on 4 May 1985.Konzerte mit der Ulmer Kantorei (in German) Kurt Huber frequently performed the tenor part in the recordings of Bach cantatas with the Heinrich-Schütz-Chor Heilbronn, the Pforzheim Chamber Orchestra and Fritz Werner, also the Evangelist of Bach's Ascension Oratorio.Fritz Werner & Heinrich-Schütz-Chor Heilbronn & Pforzheim Chamber Orchestra Bach Cantatas & Other Vocal Works A reviewer described his performance: > He sings with excellent, plangent tone and is wonderfully fluent in the very > difficult chromatics of his aria ... Much though I admire Helmut Krebs I > think that Huber actually makes a more ingratiating sound. He seems, dare I > say it, more polished than his distinguished colleague and his voice is > certainly more even.Cantatas Volume 1 review of John Quinn, 2004 Kurt Huber has appeared in Handel's oratorios Messiah, Judas Maccabaeus, Israel in Egypt, Samson, Saul and Joshua.

Born in Kampen, van der Kamp studied first law and psychology in Amsterdam. Then he studied singing with Elizabeth Cooymans and Max van Egmond at the Amsterdam Sweelinck Conservatory.Harry van der Kamp on bach-cantatas He has worked mainly in Early music and Baroque, including Baroque opera of composers such as Francesco Cavalli, Stefano Landi, Antonio Cesti, Henry Purcell, Jean- Philippe Rameau, Reinhard Keiser and George Frideric Handel. He sang with the Nederlandse Opera in Monteverdi's operas L'Orfeo and L'incoronazione di Poppea, and also in Rêves d'un Marco Polo of Claude Vivier. Bernard Holland described his appearance in 1996 as Zoroastro in Handel's Orlando with Les Arts Florissants, conducted by William Christie, in the New York Times: "Harry van der Kamp is the only man, managing Zoroastro's bass arias with pleasing clarity and heft."Modulating Handel's 'Orlando' For Ears Of the 90's review of Bernard Holland in the NYT, 12 February 1996 He recorded several Bach cantatas and the Mass in B minor with Gustav Leonhardt.

Title page of Bach's Opus 1 (Clavier-Übung I, 1731), the only time he seems to have used an opus number Apart from indicating his first published keyboard composition as Opus 1, Bach didn't use opus numbers, so Bach's works can't be listed by opus number. Lists following publication chronologies are for example implied in the first list in Bach's obituary, and BG numbers (within the BGA sequence of publication) – overall lists covering all of Bach's compositions in order of first publication are however not a way Bach's compositions are usually presented. Listing Bach's works according to their time of composition can't be done comprehensively: for many works the period in which they were composed is a very wide range. For Bach's larger vocal works (cantatas, Passions,...) research has led to some more or less generally accepted chronologies, covering most of these works: a catalogue in this sense is Philippe (and Gérard) Zwang's list giving a chronological number to the cantatas BWV 1–215 and 248–249.

BDW at Bach Digital website Tue Rechnung! Donnerwort, BWV 168, a 1725 cantata for the same occasion, was possibly restaged after 1745.BDW at Bach Digital website For the tenth to thirteenth Sundays after Trinity it is not known which cantatas may have been performed in Leipzig after 1729. The chorale cantata for the 14th Sunday after Trinity Jesu, der du meine Seele, BWV 78, first performed in 1724, was restaged after 1735.

Whittaker's main expertise as performer and scholar lay in the cantatas of J.S.Bach. Whittaker's book on the subject was published posthumously by Oxford University Press in 1959 in two volumes, which Harold Thompson prepared for publication from a typed draft. In a later edition of 1978 an appendix was added to correct chronological details which only became known in the 1950s. Whittaker also promoted musicians like Gustav Holst, Vaughan Williams, Debussy, Satie, and Poulenc.

' (Oh God, how much heartache), 3', is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the Second Sunday after Epiphany and first performed it on 14 January 1725. It is based on the hymn published by Martin Moller in 1587. Bach composed the cantata in his second year as Thomaskantor in Leipzig as part of cantata cycle of chorale cantatas, for the second Sunday after Epiphany.

Holmes (1994, 24) Among the musicians Ferdinando invited to Florence were Alessandro and Domenico Scarlatti, Giacomo Antonio Perti, Giovanni Legrenzi, Giovanni Pagliardi, Carlo Pollaroli, Giuseppe Maria Orlandini, Benedetto Marcello and Bernardo Pasquini.Harris, E.T. (2001) Handel as Orpheus: voice and desire in the chamber cantatas, p. 37. George Frederic Handel and Alessandro Scarlatti probably played on the instruments either in the Palazzo Pitti, or in the Medicean country villa of Poggio a Caiano or at Pratolino.

Hans-Joachim Rotzsch was born in Leipzig and educated from 1940 to 1945 at the Musisches Gymnasium Frankfurt, directed by Kurt Thomas. In 1949 he began to study church music at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig, learning organ with Günther Ramin.Hans-Joachim Rotzsch on the bach-cantatas website Rotzsch became known as an oratorio tenor. In 1972 he was appointed professor at the Felix Mendelssohn-Bartholdy Hochschule.

H. E. Smither, A History of the Oratorio: the Oratorio in the Nineteenth and Twentieth Centuries (UNC Press, 2000), p. 311. Arguably the last of the great English Victorian composers to emerge was Edward Elgar (1857–1934), who during the 1890s produced his Caractacus and King Olaf cantatas, the Enigma Variations in 1899, and the revolutionary Dream of Gerontius in 1900.J. N. Moore, Edward Elgar: a Creative Life (Oxford: Oxford University Press, 1999).

A member of teaching staff at the RCM from 1884 and director from 1894 until his death was Sir Hubert Parry (1848–1918), who used it as a platform for creativity and a reformation of British music. His own works included the cantatas Prometheus Unbound (1880) and King Saul (1894), and four symphonies, among them the English (1889).J. Dibble, C. Hubert H. Parry: His Life and Music (Oxford: Oxford University Press, 1998).

Several of his compositions were published anonymously in Berlin (most likely in anthologies such as the Musikalisches Mancherley and the Musikalischen Nebenstunden). His manuscripts were acquired by the Harvard University library when it acquired the music collection of Franz Hauser (1794-1870). They include three violin concertos (E-flat, D minor, A minor), two flute concertos, a harpsichord concerto, a trio sonata, and 8 vocal works (cantatas and arias in French, German, and Italian).

Walker (1989), 96. Alkan twice competed unsuccessfully for the Prix de Rome, in 1832 and again in 1834; the cantatas which he wrote for the competition, Hermann et Ketty and L'Entrée en loge, have remained unpublished and unperformed.François-Sappey and Luguenot (2013), 97, 102. In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau, which was to result in an extended and often intimate correspondence which only came to light in 2009.

During that time he wrote several symphonies, church cantatas, and arias, as well as a fragmentary Singspiel entitled Das Orackle. Hiller also published an essay on the Mimesis of Nature in Music (Abhandlung über die Nachahmung der Natur in der Musik) in 1754. That year he got his first break when he became steward and tutor to the son of Count Brühl in Dresden. He accompanied the Count to Leipzig in 1758.

Chapel of Friedenstein Palace in Gotha, where Die leidende und am Creutz sterbende Liebe Jesu was performed for the first time Gottfried Heinrich Stölzel was already an accomplished composer when he settled in Gotha, where he would remain for the rest of his life, in late 1719. His first large work for that city was a Christmas oratorio consisting of three cantatas, to be performed on three consecutive days in December 1719.

Gelber is an Argentinian pianist born in Buenos Aires, with Austrian and French-Italian descent.Bach Cantatas His father was a violinist, his mother a pianist.Sun Sentinel, 4 April 1993 He made his first public appearance at age 5, and at age 6 commenced studies with Vincenzo Scaramuzza (the teacher of Martha Argerich). He was confined to bed for a year with poliomyelitis from age 7, but made his formal recital debut at age 8.

In this he imitated the actions of his fellow singers Senesino and Francesca Bertolli. For the Nobility, he sang in operas including those by Porpora (such as Polifemo), Johann Adolf Hasse, Giovanni Bononcini, and even one Handel opera, Ottone. In 1740 he moved to Madrid for 10 years, where he sang in many operas and many cantatas at the royal chapel. For much of the 1730s Montagnana was widely acclaimed as a remarkable singer.

Much has been written about Bach's ensembles (both in size and constituents—both vocal and instrumental) that he used. In Bach's time referred to more advanced vocal church music, usually accompanied by instrumental forces, such as his motets, church cantatas and passions.Boyd 2006, p. 19 The vocal and instrumental forces used by Bach for the performance of such music are to a certain extent documented for all the periods of his life.

The court was Reformed, therefore sacred music was not required, but Bach composed a series of secular cantatas such as Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a, for the prince's birthday, and Die Zeit, die Tag und Jahre macht, BWV 134a for New Year's Day. After the Bach family moved to Leipzig in 1723, Bach continued to write occasional pieces for the court for a few years until the prince died.

This gives Webern's work considerable motivic unity, although this is often obscured by the fragmentation of the melodic lines. This fragmentation occurs through octave displacement (using intervals greater than an octave) and by moving the line rapidly from instrument to instrument in a technique referred to as Klangfarbenmelodie. Webern's last pieces seem to indicate another development in style. The two late Cantatas, for example, use larger ensembles than earlier pieces, last longer (No.

Kassern's application for asylum was denied due to missing a deadline set for asylum seekers; depressed, he attempted suicide. He worked for the Third Street Music School Settlement and the Dalcroze School of Music in New York City. Among his compositions are three operas, symphonic suite "Tatry", solo concertos for flute, piano, oboe and double bass, cantatas, songs with piano accompaniment, and several solo piano works. Kassern died of cancer in 1957.

Shaffer's compositions have been published by 12 companies and in at least three languages. They include three musicals, orchestral pieces, chamber music, a chamber opera, a ballet, organ music, cantatas, and song cycles. Her Three Faces of Woman was recorded in orchestral arrangement by Richard Stoltzman and the Warsaw Philharmonic Orchestra. She has earned grants from the National Endowment for the Humanities, National Endowment for the Arts, and the Aspen Music Festival.

In 2001, he founded the Herrenchiemsee Festival, with performances at Schloss Herrenchiemsee, and served as its intendant. For the opening of 2012 festival, he programmed four Bach cantatas in a dramatiturgical sequence: O Ewigkeit, du Donnerwort, BWV 20, Weinen, Klagen, Sorgen, Zagen, BWV 12, Wahrlich, wahrlich, ich sage euch, BWV 86, and Herr Gott, dich loben alle wir, BWV 130. A reviewer noted music- making in chamber scale, but with spiritual depth and intensity.

In concert, Herzberg worked with conductors Herbert Kegel and Ekkehard Tietze,Ekkehard Tietze on Discogs among others. She sang the contralto parts in Bach's Christmas Oratorio BWV 248, in the cantatas Gott der Herr ist Sonn und Schild, BWV 79 and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, in Mozart's Requiem KV 626 and Beethoven's Mass in C major Op. 86. Herzberg was married with the author and playwright Horst Enders.

After Ton Koopman and the Amsterdam Baroque Orchestra & Choir had finished a recording of the complete cantatas of Johann Sebastian Bach they began in 2005 the project "Dieterich Buxtehude - Opera Omnia" to record the complete works of Dieterich Buxtehude.Opera Omnia - Works of Dietrich Buxtehude Classics Online Koopman is the president of the "International Dieterich Buxtehude Society" since 2004.International Dieterich Buxtehude Society As of November 2014, all twenty volumes have been released.

Kaleschke recorded Bach cantatas with Rudolf Lutz. He appeared as the Evangelist in Mauricio Kagel's Sankt-Bach-Passion. He appeared on stage in Carl Orff's Der Mond at the Ludwigsburg Festival, and at the Kammertheater der Staatsoper Stuttgart, where he appeared in Bernhard Koenig's Expedition zur Erde. He performed in an award-winning recording of Jan Dismas Zelenka's Missa votiva with the Stuttgarter Kammerchor, conducted by Frieder Bernius, for the Carus-Verlag.

Nevertheless, St. Cosmae had an organ built by the celebrated Arp Schnitger (which still survives, although it has been reconstructed). Upon accepting the post, Lübeck married, as was custom in some parts of North Germany, the daughter of his predecessor, one Susanne Becker. The only dated works by Lübeck are two cantatas composed in Stade in November 1693, both commissioned by the Swedish administration in Stade in memory of Ulrike Eleonora of Denmark.

Stölzel composed the cantata as part of his cycles of church cantatas for the court of Schwarzburg-Sondershausen. He composed two works beginning with a verse from the First Epistle to Timothy, "And without controversy great is the mystery of godliness: God was manifest in the flesh" (). It was intended for the Third Day of Christmas in 1736. For the third day, he used a modest ensemble of strings and oboe, and composed no recitatives.

Marcel Beekman (born 3 September 1969) is a Dutch operatic tenor.Short biography on Bach Cantatas WebsiteMarcel Beekman – tenor Born in Zwolle, Beekman sang as a boy soprano in church choirs and then studied piano and singing in Zwolle with Frouke Vonk. His first recording appeared in 1982. In 1993 he completed his vocal studies at the Meander Conservatory in Zwolle and continued his education with Margreet HonigMargreet Honig on Conservatorium van Amsterdam in Amsterdam.

Pavlova at an event hosted by Boston University in 2014. Vera Anatolyevna Pavlova (; born 1963 in Moscow)Biography and Works by Vera Pavlova Novy Mir is a Russian poet whose work has been published in The New Yorker. Vera Pavlova was born in Moscow. She graduated from the Gnessin Academy, specializing in the history of music, and is the author of twenty collections of poetry, four opera libretti, and lyrics to two cantatas.

Faulstich is also noted for his portrayal of Alfonso in Mozart's Così fan tutte, appearing at La Scala of Milan in 1991 and at the Internationale Maifestspiele Wiesbaden in 1993. Faulstich recorded Bach's Missae (Kyrie and Gloria) with Helmuth Rilling and the Gächinger Kantorei, and cantatas with Diethard Hellmann and Martin Reimann. In 1973, he recorded Georg Philipp Telemann's Lukas-Passion with Uta Spreckelsen, Theo Altmeyer, Adalbert Kraus, Gerd Beusker, conducted by .

In June 1728 Picander produced the first installment of his 1728–29 cycle of cantata librettos. In its introduction he invited Bach to set the texts. No response of Bach has been recorded to this first set of 16 cantatas. If he set any of the librettos, the music has been completely lost. Contrary to his 1724–25 cycle the installments were now in quarterly submissions of 16 to 19 cantata librettos each.

Title page of Diporti di Euterpe, Strozzi's Opus 7, consisting of 8 cantatas. Strozzi was said to be "the most prolific composer – man or woman – of printed secular vocal music in Venice in the middle of the [17th] century." Her output is also unique in that it only contains secular vocal music, with the exception of one volume of sacred songs. She was renowned for her poetic ability as well as her compositional talent.

These were the only liturgical occasions on which songs in vernacular languages were permitted. (All other events were exclusively in Latin.) In Guatemala, as throughout the Spanish empire, other musical compositions with Spanish lyrics included consisted sainetes, jácaras, tonadas, and cantatas. Authors of these poems, who also put their works to music, include Manuel José de Quirós (ca. 1765-1790), Pedro Nolasco Estrada Aristondo, Pedro Antonio Rojas, and Rafael Antonio Castellanos (ca. 1725-1791).

"" was seized upon by many of the composers of the period. Dieterich Buxtehude used it (BuxWV223), as did Johann Kuhnau. Michael Praetorius published a setting in (1618–19, Wolfenbütte).Feature: Praetorius: Wie schön leuchtet der Morgenstern ("How brightly shines the morning star") Saturday Chorale Johann Sebastian Bach based his chorale cantata on it and used single verses for other cantatas, verse 4 to close , verse 5 in , verse 6 in , verse 7 to close .

Similar to most chorale cantatas, the opening chorus is a chorale fantasia, presenting the chorale line by line, the cantus firmus here sung by the soprano. Most of the lines are preceded by entries of the other voices in imitation of motifs independent of the chorale melody. In line 6 the imitation motive is taken from the chorale. In the two last lines 8 and 9 the lower voices enter together with the soprano.

A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles.

Hans Adolf Karl Wilhelm Grischkat (29 August 1903 – 10 January 1977) was a German conductor, especially a choral conductor, also a church musician and academic teacher. He founded the choir for pioneering concerts and recordings of works by Bach and Monteverdi in the spirit of historically informed performance. He was the church musician of the in Reutlingen, published Bach cantatas for Hänssler, and was from 1950 a professor of choral conducting at the Musikhochschule Stuttgart.

Marcel Bitsch (December 29, 1921, Toulouse – September 21, 2011, Paris) was a French composer, teacher and analyst. He studied at the Conservatoire de Paris and also was professor of counterpoint there. In his latter years he concentrated on teaching and analysing the music of (mostly) J. S. Bach, producing analytic scores whose page layout was designed to convey the music's structural features.Bach Cantatas Among his students are Daniel Roth and Pierre Pincemaille.

This aspect is the only connection to the gospel. An unknown poet retained the first and the last stanza unchanged the outer movements 1 and 6 of the cantata. He derived the four inner movements as a sequence of alternating arias and recitatives from the inner stanzas. John Eliot Gardiner points out that "several of Bach's late Trinity season cantatas" concentrate on "the brevity of human life and the futility of earthly hopes".

His compositions include cantatas, a ballet and several orchestral works. Constantin was music director of Louis Martinet's Théâtre des Fantaisies-Parisiennes from 1865 where he revived rare operas by Schubert, Donizetti, Weber, Hérold, Monsigny and Philidor. He also completed and conducted the stage premiere of Mozart’s L'oca del Cairo (as L’oie de Caire) on 6 June 1867 at the Théâtre des Fantaisies-Parisiennes; his version was later revived elsewhere.Mann W. The Operas of Mozart.

The second motif in the violins is reminiscent of Luther's hymn "" (These are the holy Ten Commandments), which opened two other cantatas. Gardiner describes it as "emollient and graceful, a halfway house between a minuet and a waltz, affirming a more serene side to faith." The third motif is part of the hymn "" and appears in the continuo. In two vocal sections, the voices are embedded in a repetition of the Sinfonia.

Bach wrote the cantata in 1724, his second year as Thomaskantor in Leipzig, for New Year's Day. The feast also celebrated the naming and circumcision of Jesus. The prescribed readings for the feast day were from the Epistle to the Galatians, by faith we inherit (), and from the Gospel of Luke, the Circumcision and naming of Jesus (). That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724.

Each of the stanzas consists of nine lines. For the cantata text, an unknown poet kept the words of stanzas 1 and 4 unchanged for movements 1 and 6. He transcribed the ideas of the inner stanzas, each to a sequence of recitative and aria. Due to the splitting of each stanza in two movements, the paraphrasing is a more independent from the original than for the previous cantatas of the cycle, last .

While conductor he produced several oratorios and cantatas. In 1881 he inaugurated the students' annual concerts. In 1887 he was appointed organist to the North Adelaide Baptist Church, then organist and choirmaster of the Flinders Street Presbyterian Church from 1891 to November 1917, succeeded by Horace Weber. At the Adelaide Jubilee International Exhibition of 1887 he gave several organ recitals, In 1890 the S.A. Sunday School Union appointed him musical director for the Jubilee Festival.

Because of its intimate scoring and lack of large-scale opening chorus, the work is a "treasureable miniature" and "the most personal of Bach's Christmas cantatas". The opening aria begins with a lullaby-like molto adagio in 12/8 time. This movement "dominates and casts a glow over the entire work", with its "mood of iridescent transparency". It is in G major and is accompanied by obbligato flute and strings doubled by oboe d'amore.

Briegel was prolific in his sacred music output, completing 24 published collections between 1654 and 1709. He also wrote several "occasional" pieces and some secular works. He attracted attention with the publication of his Evangelische Gespräch, a set of dialogue cantatas for the liturgical year in varied forms made up of solos, choruses and chorales. Another set of his works, the Evangelischer Blumengarten, is a group of motets and meditative choral songs.

The second recitative is a paraphrase of , Elijah lifted to heaven. The second aria is a paraphrase of , which sets the love of God apart from the love of the world. The only other extant cantata for the Sunday is the chorale cantata , composed in 1724. Like three other cantatas, the early (1714), and the 1726 works , and , Bach wrote for a single alto soloist, but unlike those works a choir sings the chorale.

He was born at Arezzo, and studied with various local musicians. In 1637 he joined the Order of Friars Minor, or Franciscans, a Roman Catholic religious group founded by Francis of Assisi. While he was in Volterra he turned more toward secular music, perhaps due to the patronage and influence of the powerful Medici family. Here he also came in contact with Salvator Rosa, who wrote libretti for a number of Cesti's cantatas.

Bach composed the cantata for the Sixth Sunday after Trinity between 1732 and 1735. It filled a gap in his second annual cycle of chorale cantatas written for performance in Leipzig. In 1724, when he composed the cycle, he had an engagement in Köthen that Sunday, and therefore left the text for later completion. The cantata is based on a hymn "" by Paul Speratus, which was published in 1524 in the , the first Lutheran hymnal.

Paul Esswood was born in West Bridgford, England. He studied at the Royal College of Music in London from 1961 to 1964 after which he sang in the choir of Westminster Abbey. His professional debut was in a performance of Handel's Messiah for the BBC (1971). Esswood has participated in over 150 recordings, including the alto parts of many Bach cantatas in the complete Teldec series by conductors Nikolaus Harnoncourt and Gustav Leonhardt.

Cacoyannis), The Man with the Carnation (Nikos Tzimas) #Oratorio: Canto General in 13 Sections, completed in 1981 (Pablo Neruda) #Oratorios: Liturgia 2; Missa Greca (Thia Liturgia); Requiem; #Symphonic music and cantatas: Symphonies no 2, 3, 4, 7; According to the Sadducees; Canto Olympico; Guitar Rhapsody; Cello Rhapsody; Trumpet Rhapsody (dedicated to Otto Sauter, 2008); Rhysody for Strings (Mezzo-Sopran or Baryton ad lib.) #Operas: "The Metamorphosis of the Dionysus" (Kostas Karyotakis); Medea; Elektra; Antigone; Lysistrata.

Gazzaniga, Giuseppe - Hutchinson encyclopedia article about Gazzaniga, Giuseppe In 1791, he became musical director of Crema Cathedral in the Lombardy region of northern Italy, where he composed numerous sacred works including several cantatas, oratorios, and masses. He remained in that position until his death in 1818.Giuseppe Gazzaniga: Information and Much More from Answers.com His life and works were the subject of a detailed study by the prominent 19th-century German critic Friedrich Chrysander.

Heinrich Müller was considered as dogmatic orthodox and followed the tradition of Martin Luther against church bad states. He was a representative of the Verinnerlichung of the Christianity. His passion lectures were far common and formed the main text collected for Matthäus-Passion (BWV 244) by J.S. Bach. He worked as sacred texts writer and wrote collections of cantatas, which were published under the titles of Geistliche Seelen-Musik and Himmlische Liebesflamme.

The Bach scholar Klaus Hofmann sees the cantata as one of the composer's "most beautiful, most mature and, at the same time, most popular sacred cantatas". Dürr notes that the cantata, especially the duets in a unity of "earthly happiness in love and heavenly bliss", are an expression of Christian mysticism in art. William G. Whittaker calls it "a cantata without weakness, without a dull bar, technically, emotionally and spiritually of the highest order".

Among the authors who assume that Bach modified the libretti himself are Nele Anders in the introduction (1988) to volume 10 of the Teldec complete set, and John Eliot Gardiner in his 2013 book Bach: Music in the Castle of Heaven. Allen Lane. In the case of Sie werden euch in den Bann tun the differences between the printed version and that set by Bach are less than in the preceding cantatas such as .

Under her direction the company performed on state, as well as on radio and television networks. McLin's own opera Oh Freedom was played at Carnegie Hall in 1983. She has composed a wide range of music, including cantatas, masses, and rock operas. Her work has built from both European classical traditions and tradition African-American music, and "works large and small that, in essence, merged European and African-American languages", according to Reich.

In the last years of his life, Bach integrated the complete Mass for the Dresden court as Kyrie and Gloria in his Mass in B minor, his only complete mass (in Latin: missa tota). Scoring and structure are identical with the later work. Another part of this Mass was derived from the 1724 Sanctus for six vocal parts. Also the music of several movements of his earlier German cantatas was integrated in this mass.

In 1936 he was the first conductor of the Coral Paulistano choir. His œuvre comprises symphonies, concertos, cantatas, two operas, chamber music, many piano pieces, and over fifty songs. Some consider him to be the most important Brazilian composer after Heitor Villa-Lobos. Shortly before his death in São Paulo in 1993, he was awarded the Gabriela Mistral Prize by the Organization of American States as the greatest contemporary composer of the Americas.

The work is richly scored for the feast day, exactly like the Christmas Oratorio for four vocal parts, three trumpets, timpani, two flauti traversi, two oboes, strings and continuo. While the recitatives and the first chorale were new compositions, Bach based the other choral movements and the two arias on parts of earlier cantatas. He used the model for the alto aria again much later for the of his Mass in B minor.

Highlights among his output are the cantatas La Araucana and Lord Cochrane de Chile, the Macchu Picchu oratorio on texts by Neruda, the Concerto for Flute & Strings, and a most recent Harp Concerto from 2006. Important in his catalogue are also the electroacoustic works. Becerra was also an important teacher. Some of his pupils were or are among the most important composers of Chile, these include Luis Advis, Sergio Ortega, Fernando García and Cirilo Vila.

Weißheimer's piano pieces Reminiscence of Gioventu and At Beethoven's Grave, as well as his Symphony for Schiller's Knight Toggenburg match the spirit of the New German School. His literary taste is evident in the texts he set to music. German minstrel poems, texts by Johann Wolfgang von Goethe, Friedrich Schiller, Körner, Heinrich Heine and others found a musical home in his songs and cantatas. Weißheimer summarized his individual compositions into larger cycles.

Three of his cantatas begin with the hymn. His 1724 chorale cantata Was Gott tut, das ist wohlgetan, BWV 99, is based on the complete hymn, with paraphrases of the inner stanzas. In 1726, he composed the cantata Was Gott tut, das ist wohlgetan, BWV 98, beginning with the first stanza. Between 1732 and 1735 he wrote the cantata Was Gott tut, das ist wohlgetan, BWV 100, using all six stanzas unchanged.

He also wrote several operas, oratorios, masses and cantatas. His music was recently rediscovered by the Conservatory of Benevento, which has headed the institution and the local association Eufoniarché, producing his operas and oratorios each year with the help of palaeographers and Latin scholars of the University of Naples, Rome and Paris. The well-regarded state-funded music conservatory Conservatorio Statale di Musica Nicola Sala in Benevento near Naples is named for him.

Since 1963 he was president of the German section of Jeunesses Musicales International. In the three decades after the Second World War, he organized ten music festivals and about seven hundred concerts, presenting two thousand eight hundred works of modern music. In addition to an opera, an orchestral concerto and a violin concerto, Büchtger composed three sacred oratorios, church cantatas, Marian hymns, choral music and song cycles. He received the Schwabing Art Prize in 1977.

The composition is a part of the four-part cycle of cantatas (The Opening of the Wells, Legend of the Smoke from Potato Fires, The Romance of the Dandelions, Mikeš of the Mountains); all are connected with the Moravian Highlands, Martinů's native region. The cantata relates to the customs around welcoming spring, and the cleansing of springs of detritus at the end of winter. The baritone sings as a pilgrim returning to his native land.

These included E major as well as E in Phrygian mode and again in Dorian mode, but not E minor per se. They also excluded C/D major, D/E minor, F/G major, G/A minor, and A/B minor. Bach modelled the sequence of his 48 Preludes on Fischer's example."Bach cantatas, Arrangements & Transcriptions of Bach's Works: Arrangements & Works inspired by Well-Tempered Clavier BWV 847–869 & BWV 879–893 (WTC)", Bach-Cantatas.com.

Hansmann recorded Monteverdi's Vespro della Beata Vergine with the Monteverdi- Chor, conducted by Jürgen Jürgens. She also recorded Bach cantatas, sacred music by Mozart and Mendelssohn's Lobgesang. She appeared as one of the Flower Maidens in Georg Solti's 1972 recording of Parsifal, with René Kollo in the title role. Nikolaus Harnoncourt, who conducted pioneering recordings of Monteverdi's operas and Bach's Hansmann was a singer in recordings by Nikolaus Harnoncourt, pioneering historically informed performances.

Bach Cantatas Website: Aldo Baldin He made his debut at the Pfalztheater in Kaiserslautern in 1975, at the Teatro Colón in Buenos Aires in 1980 and at the Scala in Milan in 1981. Genuit.de: Aldo Baldin Among other institutions, he taught at the music academies in Blumenau in Brazil and in Heidelberg, Mannheim and Karlsruhe in Germany. His pupils included Ulf Bästlein, , , Winfried Toll and . He died in Waldbronn at the age of 49.

Before that time he had been working in Arnstadt, where he played the Wender organ of the Neue Kirche. After he moved to Weimar in mid 1708, he revisited Mühlhausen several times in the next few years, for instance supervising the remodelling of the organ of the Divi Blasii according to his design, which was completed in 1709, and performing cantatas he composed for council election in 1709 and 1710 (BWV 1138.1 and 1138.2).

The Harpsichord Concerto in E major, BWV 1053, is a concerto for harpsichord and string orchestra by Johann Sebastian Bach. It is the second of Bach's keyboard concerto composed in 1738, scored for keyboard and baroque string orchestra. The movements were reworkings of parts of two of Bach's church cantatas composed in 1726: the solo obbligato organ played the sinfonias for the two fast movements; and the remaining alto aria provided the slow movement.

Elmer Samuel Hosmer (1862 – 1945) was an American composer. A native of Massachusetts, he studied with J. C. D. Parker and Percy Goetschius, and wrote a good deal of church music. He also composed a number of cantatas, including one about Christopher Columbus (Columbus: A Short Cantata for Men's Voices) and one after "The Man Without a Country". He set a poem by Clara Hapgood Nash, "Mother", to music as a song.

He also wrote solos for flute, and Italian cantatas. His contemporaries often criticised him for his "harsh, ungrateful harmony, and extravagant and licentious modulations". Most English composers in the 18th century had adopted the Italianate style in the Handelian manner, and the ears of English music lovers were becoming accustomed to the easier harmony and form of the galant style. Thus Roseingrave's music would have appeared to many to be too intellectual and old-fashioned.

In that year he returned to Karlsruhe and began teaching at the gymnasium there. From 1747 to his death Molter was employed by Margrave Carl Friedrich of Baden-Durlach, the son of his first employer. He died at Karlsruhe. Molter's surviving works include an oratorio; several cantatas; over 140 symphonies, overtures, and other works for orchestra; many concertos, including some of the first clarinet concertos ever written; and many pieces of chamber music.

Bass also recorded and performed two of Beethoven's cantatas, Der Glorreiche Augenblick and Auf die Erhebung Leopold des Zwieten zur Kaiserwürde with sopranos Deborah Voigt and Elizabeth Futral. Many other notable singers performed with the choir during the Bass years, including Kathleen Battle, Stephanie Blythe, Vinson Cole, David Daniels, Lauren Flanigan, Maria Guleghina, Hei-Kyung Hong, Salvatore Licitra, Alessandra Marc, and Bryn Terfel. The group changed its name to MasterVoices on August 3, 2015.

The canticles Harris in A and Harris in A minor are still sung at Evensong in a number of Anglican cathedrals. The hymn tune Alberta (often used for the words Lead, Kindly Light), and various Anglican psalm chants remain familiar. Harris also composed cantatas and organ pieces. His largest composition, the 1919 choral- orchestral cantata The Hound of Heaven (a setting of the religious allegory by Francis Thompson), has been almost completely forgotten.

The text includes no contemporary poetry, as many of his cantatas and passions do, but purely biblical quotations and chorale, as in other motets by Bach and his models. The text is combined of two verses by Isaiah, and , both beginning with "". The second verse is combined with two stanzas of Paul Gerhardt's hymn "Warum sollt ich mich denn grämen". Bach would have known a motet on the first verse by Isaiah composed by Johann Christoph Bach.

Born in Nebra, Biller was a Thomaner, a member of the Thomanerchor, from 1965 to 1974 with Erhard Mauersberger and Hans-Joachim Rotzsch.Georg Christoph Biller on the bach-cantatas website He studied at the from 1976 until 1981, orchestral conducting with Rolf Reuter and Kurt Masur, and voice. He was a teacher for choral conducting at the in 1991. In November 1992, George Christoph Biller was appointed as the 16th successor of Bach in this position.

Later on, Rellstab also made instruments and sold other music supplies. After losing his property in the War of the Fourth Coalition in 1806, he began teaching music lessons to children., from Nicolas Slonimsky, Laura Kuhn, Dennis McIntire, in Baker's Biographical Dictionary of Musicians Rellstab's compositions include a Te Deum, a mass, numerous cantatas, lieder, and an unperformed singspiel, Die Apotheke, among other works. His son Ludwig Rellstab was also a music critic and a poet.

Frühere Dirigenten (Former conductors) on the JSO website (in German) He prepared the boys choir for the recording of Bach cantatas in a collaboration with Gustav Leonhardt, published as "Das Kantatenwerk" by Teldec. Hennig belonged to the first conductors pursuing historically informed performance. He revived neglected works of Heinrich Schütz and Andreas Hammerschmidt, among others. He conducted the choir in five Schütz recordings between 1982 and 1999, four of them won prizes such as the Deutscher Schallplattenpreis.

In 1878 he married Georgianna Bessie Calder, they had two daughters, Elsa and Dorothy. Parker was in the school of music at Sherborne School, Dorset, 1873-1892, which included a tenure as only the second director of music in 1877, having succeeded his mentor's son James Robert Sterndale Bennett. His songs, cantatas, and instrumental music were composed during this time. He was an early English supporter of Richard Wagner, eventually serving as president of the Wagner Society of London.

The two arias are based on arias from Bach's 1713 Hunting Cantata (). The soprano aria "" (My faithful heart) resembles the former aria of the shepherd goddess Pales "" (While the herds all woolly-coated). In the church cantata, Bach used an obbligato violoncello piccolo, an instrument he experimented with in cantatas of the second cantata cycle (1724–25). John Eliot Gardiner describes it as "surely one of Bach's most refreshing and unbuttoned expressions of melodic joy and high spirits".

Nicholas Anderson of the BBC took a great interest in these Sunday afternoon concerts and several times recorded those cantatas that the BBC had not yet recorded for its complete series.Celebrating John Beckett, p. 14 - 15. Because of this connection, the New Irish Chamber Orchestra and The Cantata Singers, conducted by John Beckett, were invited to perform an all-Bach concert at one of the Henry Wood Proms at the Royal Albert Hall on 22 July 1979.

From 1956 until his death in 2012 he lived in the neighborhood of Porz in Cologne, where he was active as a choirmaster and church musician. The first compositions by Wolfgang Lüderitz were published in 1954, but his works became more popular in Germany in the 1960s. In the mid-1980s, he had already published about 170 original compositions and derivative works of both secular and religious music, ranging from simple stanzaic songs to symphonic cantatas.

Benoît Haller studied choral and orchestral conducting with Hans Michael Beuerle at the Hochschule für Musik in Fribourg-en-Brisgau.Bach Cantatas He studied singing with Hélène Roth then Beata Heuer-Christen, Gerd Heinz (opera) and Hans Peter Müller (song repertoire) from 1992 to 2002.Oratorio de Paris His repertoire includes baroque opera and classic and romantic oratorio. He is the founder and musical director of the French baroque musical ensemble La Chapelle Rhénane, which he has headed since 2001.

In 1723, Bach had probably performed two cantatas in Leipzig on that Sunday, , composed earlier in Köthen, and , both audition pieces to apply for the post of in Leipzig. The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love" (), and from the Gospel of Luke, healing the blind near Jericho (). The Gospel also announces the Passion. The text is based on the funeral song "" in eight stanzas by Paul Eber (1562).

They recorded cantatas and passions by Johann Sebastian Bach, both with Kahlhöfer as with Kläsener. In 2001 they recorded Max Bruch's Schön Ellen, a choral ballad for two solo singers, chorus and orchestra, with the Wuppertal Symphony Orchestra conducted by George Hanson. Reviewer Christopher Fifield noted that they do justice to Bruch's early style, especially at the "jubilant end". In 2012 they were invited to concerts in Israel with the Sinfonietta Beer Sheva, to celebrate the orchestra's 40th anniversary.

Martin Luther wrote and composed a hymn which paraphrases Psalm 46, "Ein feste Burg ist unser Gott", which was translated as "A Mighty Fortress Is Our God". Luther's hymn was called "the Marseillaise of the Reformation" by Heinrich Heine in his essay Zur Geschichte der Religion und Philosophie in Deutschland. It inspired many musical works, both religious and secular. Johann Sebastian Bach based one of his chorale cantatas, Ein feste Burg ist unser Gott, BWV 80, on Luther's hymn.

She performed several times at the BBC Proms in productions of Janáček's Glagolitic Mass and Stravinsky's Les Noces. Lehane was mostly at home in Handel operas and oratorios; over the span of her career she was involved in over 100 productions of Handel's Messiah, 50 Bach cantatas and 40 St Matthew Passions. Towards the end of her life she gave up performing, after making many recordings which perpetuate her name and reputation. She died in Great Elm.

Nikolaus Harnoncourt recorded in 1971 in a historically informed performance with original instruments and male singers (the upper two parts are sung by boys and the countertenor Paul Esswood). This was at the start of the first project to record all Bach's sacred cantatas, "J. S. Bach – Das Kantatenwerk" on Teldec. has since been included in the other "complete sets", conducted by Rilling, Gardiner, Koopman, Leusink, and Suzuki (details of these recordings are given in the discography article).

It appeared in the Neue Bach-Ausgabe in 1962. It was first recorded by the Kantorei Barmen-Gemarke in 1961, and subsequently, as part of their complete sets of the secular cantatas, by the Amsterdam Baroque Orchestra & Choir and the Bach Collegium Japan. Bach reused the music of the two choral movements and two arias a year later in his Christmas Oratorio, notably for the movements opening Part I, Jauchzet, frohlocket!, and Part III, Herrscher des Himmels.

Bach also composed cantatas in honour of the elector's family, , performed on 5 September 1733, the eleventh birthday of the son of the elector, and another for his wife, Maria Josepha. Bach composed to honour the 34th birthday of Maria Josepha on 8 December. It is also known by the description ' (Congratulation cantata for the Queen's birthday), although Maria Josepha was not crowned Queen of Poland until January 1734. The librettist of the text is unknown.

The Washington area has a large number of chamber vocal ensembles. The Washington Bach Consort, founded in 1977 and directed by J. Reilly Lewis, presents concerts using a professional chorus and orchestra using period instruments.Washington Bach Consort, About the Consort (visited Apr. 7, 2015) The Bach Consort is noted for performing the music of Johann Sebastian Bach and his contemporaries, and performs a monthly series of weekday noontime cantatas in downtown Washington in addition to regular concert performances.

After Berkey had moved to Omaha in 1974, he and Almeda wed. She soon became the director of choral activities at the University of Nebraska, and later, with her husband, founded Nebraska's Professional Chorale, Soli Deo Gloria Cantorum. Berkey's earliest compositions were original choral works and arrangements for Almeda's choirs, which they performed and recorded together. Many of Berkey's earlier compositions are songs, service cantatas, and other works for vocal ensembles of men, women, and mixed choirs.

Like other cantatas for Michaelmas, it features texture layering from the lowest range to the highest, and a contrapuntal representation of "battles and massing armies". It is in two distinct sections and uses fugal techniques. The movement begins with a "strong declaration in unharmonized octaves", pairing the low strings with the bass voice of the first choir. A rhythmic shift creates a "floating, turn-around feeling" before the tenor line enters, followed by alto and soprano.

In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of duchess Aurora Sanseverino (whom Mainwaring called "Donna Laura")Annette Landgraf, David Vickers, The Cambridge Handel Encyclopedia, Cambridge University Press, 2009, p.

Johann Ernst Bach composed a sacred cantata. Johann Sebastian Bach used the hymn in his cantatas and notably to conclude his St John Passion. In 1724, he used stanza 3, "" (Ah Lord, let thine own angels dear), in the first version of the work, and returned to it in the fourth and last version. In , composed in 1726 for St. Michael's Day, he quotes the melody instrumentally in the central tenor aria, played by the trumpet.

Iván Erőd wrote in 1988/89) Vox Lucis (Voice of the Light), Op. 56\. Ivan Moody wrote in 1995 Revelation. Cantatas were also composed by Mark Alburger, Erik Bergman, Carlos Chávez, Osvald Chlubna, Peter Maxwell Davies, Norman Dello Joio, Lukas Foss, Roy Harris, Arthur Honegger, Alan Hovhaness, Dmitry Kabalevsky, Libby Larsen, Peter Mennin, Dimitri Nicolau, Krzysztof Penderecki, Daniel Pinkham, Earl Robinson, Ned Rorem, William Schuman (A Free Song), Roger Sessions, Siegfried Strohbach, Dave Brubeck, Michael Tippett, and Kurt Weill.

Danz studied school music at the Hochschule für Musik Detmold and voice with Heiner Eckels. She took advanced classes with Elisabeth Schwarzkopf, among others.Ingeborg Danz on Bach Cantatas website Danz has been teaching master classes at the Musikfest of the Internationale Bachakademie Stuttgart.Sandra Stahlheber student in Stuttgart She appeared as a guest artist on the opera stage, such as Hamburg State Opera, but is mostly dedicated to concert singing, collaborating with Helmuth Rilling and Philippe Herreweghe.

Among the best known of the later operas are The Mikado (1885) and The Gondoliers (1889). Gilbert broke from Sullivan and Carte in 1890, after a quarrel over expenses at the Savoy. They reunited in the 1890s for two more operas, but these did not achieve the popularity of their earlier works. Sullivan's infrequent serious pieces during the 1880s included two cantatas, The Martyr of Antioch (1880) and The Golden Legend (1886), his most popular choral work.

A transverse flute accompanies the tenor voice in the aria "" (Be lively now, your Savior knocks). The knocking is expressed in repeated notes. Throughout the movement, a motif identified by Albert Schweitzer as a joy motif pictures an "almost breathless expression of personal euphoria". The demanding flute part was probably composed for the excellent flute player for whom Bach first wrote a few weeks earlier in , and then in other cantatas during the fall of 1724.

A part for obbligato organ (Org) replacing oboe and cello in movement 5 was adopted in an even later performance. The work is about 25 minutes long. In the Weimar version and the 1724 version, Bach requested a repeat of the opening chorus, by adding after the chorale . In the following table of the movements, the scoring follows the Weimar version of the Neue Bach-Ausgabe, and the abbreviations for voices and instruments the list of Bach cantatas.

She has also written, in collaboration with Mrs. Riley and Frederic Fleming Beale, several successful operettas and cantatas, such as The House That Jack Built, The Toy Shop, The First Lieutenant, The Man with a Wart, and Harvest Time, Christmas Time, and Blossom Time. Elson says of her children's songs that in this juvenile vein she has no equal among American women, and that some of them may be readily used by "children of a larger growth." Mrs.

The Spanish version of Oriamendi, written by Baleztena, became later much more popular than the original Basque lyrics. For history of the song, see Rafael Garcia Serrano, Cantatas de mi mochila, [in:] Navarra fue la primera, Pamplona 2006, , pp. 523-530 Also in 1908 he set up El Requeté de Pamplona, a periodical intended for Carlist youth.Premín de Iruña blog, entry 15.11.10 In 1911 he was elected president of Juventud Jaimista in Pamplona,Premín de Iruña blog, entry 23.11.

György Kósa (24 April 1897, in Budapest – 16 August 1984, in Budapest) was a Hungarian composer. Kósa studied with Béla Bartók, Zoltán Kodály, and Victor von Herzfeld between 1905 and 1916. From 1927, he taught piano at the Budapest Conservatory. He composed nine operas, four ballets, and incidental music for four pantomimes, as well as nine symphonies, one orchestral suite, chamber music, eleven oratorios, several cantatas, one mass, one setting of the Dies Irae, two requiems, and lieder.

His tunes show French influence, subtly taking account of stresses and lengths of syllables and words, as well as Italian influence, expressing affects in terms of music, e.g., passion by means of melisma and coloratura. Albert also absorbed many typical Italian, German, and especially Polish dance rhythms. A number of his songs go beyond simple forms: some are structured like cantatas, with instrumental introduction, lyrics, through- composed for solo voice, and with a short coda for choir or instruments.

The performance in Solothurn is usually followed by a tour of guest concerts in different European countries. In addition, the Christmas Oratorio by Johann Sebastian Bach has been an integral part and traditional highlight of the concert program of the Solothurner Singknaben for several years. The diverse repertoire of singers includes not only contemporary choral music but also Gregorian chants, motets, cantatas, masses, as well as secular and sacred songs, including folk songs from Switzerland and other countries.

Bach wrote the cantata in his third year in Leipzig for the Second Sunday after Epiphany. The prescribed readings for the Sunday were taken from the Epistle to the Romans, we have several gifts (), and from the Gospel of John, the Marriage at Cana (). The text is taken from Georg Christian Lehms' annual of cantatas, published in Darmstadt in 1711. The single idea from the gospel is the word of Jesus: "Mine hour is not yet come".

Principe has translated a great number of works from German (including books by Ernst Jünger and the complete Cantatas by Johann Sebastian Bach). Principe has been an advocate of writer John Ronald Reuel Tolkien: he contributed to the Italian diffusion of The Lord of the Rings by editing the Italian translation of the book from its second edition (1970) onwards. Besides, he has contributed since 1992 to the Sunday cultural supplement of Il Sole 24 Ore.

His compositions include orchestral and chamber music, operas, cantatas, masses and oratorios. Erlebach was a prolific composer, but most of his works (over 1000 compositions), which had been acquired by the court from Erlebach's widow after his death, were destroyed in 1735 during a fire in Rudolstadt. This caused Erlebach’s music to be almost completely forgotten. Only 70 compositions (about 7 percent of his working output) survived, some only in handwritten manuscript form, which later had to be transcribed.

This cantata was composed for the name day of Frederick August I, Elector of Saxony. The text is by Picander who published it in the second part of his collection Picanders Ernst- Schertzhaffte und Satyrische Gedichte (Leipzig 1729). However, there has been speculation that Picander based his text on the work of Christian Friedrich Hunold, an earlier librettist of Bach. The reason for this suggestion is a similarity to a series of congratulatory cantatas Bach composed at Köthen.