Matthew Passion" that its "chorales are not dramatic music, but they impart musical drama.
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Without pause, the Philharmonic then played Schoenberg's rich yet focused 1922 arrangements of two Bach chorales.
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Then I arranged four more Bach chorales next to that, and they all sounded really good.
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Luther established his own musical currency in the form of chorales, those hymns in the vernacular.
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They became the crowd — the "turba" as Bach calls it — and disciples in the choruses and the chorales.
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Kempowski's prose contains collages of confetti-size fragments from literature, biblical texts, church chorales, 1940s movies and popular songs.
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Bach wrote 389 chorales in his lifetime, giving DeepBach plenty of material to study, and each chorale has recurring patterns.
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For DeepBach, Hadjeres and Pachet concentrated on Bach's chorales — pieces of music that set traditional hymns to stately, four-part vocal melodies.
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It's a more accomplished collection of tracks, with more compelling contrasts—inky synthesizer lines slightly clouding, for once, her dazed, wordless chorales.
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Echoes of Baroque-style chorales were intricately folded into the opening of the final movement, with tonal harmonies that splinter and turn vaporous.
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This excellent German vocal quintet presents seven of Martin Luther's chorales in many versions, typically changing composers from one verse to the next.
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The sound of the record is appropriately in higher spirits, built around twittering soul samples, lilting strings, lens-flare dub echoes, and pointillist chorales.
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Over the course of the 12-minute work, there are radiant brass chorales, luscious strings and a consoling melody intoned by single oboe, then a flute.
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Streaming below ahead of its September 22 release, the record is an ambitious collection dead-eyed chorales, twisted black metal bursts, grayscale ambience, and crackling field recordings.
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"Anthracite Fields," a five-part oratorio with roots in rock, classical chorales and the avant-garde, may look to the past, but it is anything but nostalgic.
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But it also offers simpler pleasures too—there are melodies of "Swan Lake" that sound like the sort of pop chorales that Björk has occasionally indulged in.
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The orchestra was suppose to play one of Bach's Chorales, but this performance still hit it out of the park, and the director didn't seem to mind at all.
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Incorporating voice for the first time, the album features the Icelandic Choir Ensemble performing 15th century chorales, reinterpreted by composer Jóhann Jóhannsson (best known for recently scoring 2015 film Sicario).
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Alan Baer, the tuba player, deserves mention not so much from a thematic perspective as from a structural one, having provided a firm, sonorous basis for those lovely brass chorales.
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For most of the track, there's no rhythm section, just endlessly sustained bass tones, Messina-generated vocal chorales and Swamp Dogg singing like a man hurtling toward some distant planet.
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The overlapping harp melodies, organ drones, and wordless chorales of songs like "Never Saw Him Again" are pure rapturous, cloud-busting bliss, but Lattimore never really allows you anything to latch onto.
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His chorales make for great training data because their structure is pretty consistent and concise — they all contain four voices, which take on a pleasing depth when layered on top of one another.
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Just a few months later, I saw a far more muted performance she and a harpist offered sleepwalking chorales before hundreds waiting to see a pop-techno producer play hours of leaden beats.
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Mac DeMarco (Sunday) Under his stereotypically trendy guise of wrinkled oversized shirts, unkempt hair and a haughty gaze, this psych-pop rocker offers indie-pop chorales with moping, ruminative lyrics that seldom veer toward mawkish.
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It's a childish way of looking at things, but I will listen to Penderecki and think about how that kind of thing can be done with modern music, or how Messiaen's modes can work in the structure of Bach chorales.
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From its inception, the NFL made concerted attempts to keep the halftime show as apolitical and inoffensive as possible, hiring University marching bands or local drill teams, Rockettes or chorales, guaranteeing it met FCC standards and kept all cohorts of its dissimilar American audience entertained.
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She often sang about them as a shared "we," and while they knew they were a world away from glamour or renown, on their own terms they were heroes and gladiators; Lorde's music, overdubbing her own voice, cast them as ghostly chorales and majestic choirs.
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" The Merseybeat bounce of "Home Tonight" offers a lift home as a small, friendly gesture as "the world is falling apart," while "In a Hurry" moves from Beach Boys introspection to exultant vocal chorales carrying a pure McCartney sentiment: "Never too late to celebrate.
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But the true innovation here is how this one trades more standard song structures to center instead on the malleability of the voice at the center of the Eartheater project—which floats handily from seraphic chorales to whispered raps, piercing squeals, and power-tool screeches.
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The producer Danger Mouse (who shares production credits on the album with Inflo and, on a few tracks, Paul Butler) places Mr. Kiwanuka in a realm of string orchestras and wordless backup chorales, of rich reverb and staticky vintage-amp distortion, of unprogrammed drums and leisurely buildups.
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The first half here starts almost sweet, cushioning such messages as "In the land of the free it's full of freeloaders / Leave us dead in the street to be their organ donors" but also "Tryna stay alive and just stay peaceful" with crooning, chorales, r&b grooves.
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As a musician who revels in the stylistic melting pot that is American musical culture, Mr. Thomas embraced the deliberate mix of the sublime and the banal, the hints of church chorales and country dances that run though Mahler's symphonies, especially the Rondo-Burleske movement of this one.
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Yet, seizing on every piercing chord and astringent harmony, he also brought out boldly the contemporary elements of Poulenc's musical language, which subtly draws from diverse styles including modal French sacred music, Impressionist colorings and Neo-Classical fanfares and chorales, even sly hints of salon room insouciance during scenes in which aristocrats lament their political predicament.
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Estimant que de tels programmes " ne transformeront pas en profondeur la relation que les enfants de milieux populaires entretiennent avec la musique ", M. Dorin trouve en revanche excellente la décision annoncée récemment par les ministères de l'Éducation et de la Culture de la mise en place de chorales dans tous les collèges et écoles primaires d'ici à deux ans.
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Furthermore, Butt maps multiple time worlds, or "time zones," in the Passions: the recitatives and dialogues, which plunge us into the midst of the New Testament narrative; the stern, stately chorales, which are like voices calling out from the era of Luther; and the arias and big choruses, which, in operatic style, show the lessons and moods of the Passion being absorbed into the Baroque present of Leipzig.
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He composed a St Mark Passion which is now lost, and only three of his works, all organ chorales, are now known. His setting of Jesu Leiden, Pein und Tod, BWV Anh. 57 (modelled on O Mensch, bewein dein Sünde groß, BWV 622, in Bach's Orgelbüchlein) is one of the most elaborately decorated chorales in the whole repertoire, with the chorale melody embellished by hemidemisemiquavers and even shorter notes. He published the two other chorales as Vermischte musikalische Choral-Gedanken (Weimar, 1737; in Incognita organo XXXVI, Hilversum, 1988); they are of a similar style to Bach's 'Arnstadt' chorales with expressive, improvisational interludes to a full harmonised chorale; there are other features resembling Bach's 'Leipzig' chorales, BWV 651–668.
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J. S. Bach: Vierstimmige Choralgesänge. Editio Musica Budapest, 1982 (pocket score edited by János Dobra: 1988) ; Kalmus (389) : Kalmus republished the 389 chorales of Richter's collection.Johann Sebastian Bach: 389 Chorales for SATB voices with German Text. Kalmus, 1985.
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The text is taken from three sources: the biblical texts, contemporary poetry by Picander and chorales.
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Speculations Regarding the Original Liturgical Occasions of the Individual BWV 253–438 Chorales at Luke Dahn's .
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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.
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Pachelbel's knowledge of both ancient and contemporary chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, "Nun lob, mein Seel, den Herren" is based on the hymn by Johann Gramann, a paraphrase of Psalm 103; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. "" is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely.
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As for most of Bach's motets, there is no extant autograph of . The motet's SATB chorales were copied in several 18th-century manuscripts collecting chorale harmonisations by Bach. The earliest extant of such chorale collections, the Dietel manuscript, also contains a SATB version of the motet's five-part third movement: Dietel's copy omitted the second soprano part of that movement. Carl Philipp Emanuel Bach retained the two other chorales, based on the motet's first (=11th) and seventh movements, in the third volume of Breitkopf's 1780s edition of Bach's four-part chorales.
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The Bach-Werke-Verzeichnis, published in 1950, did not assign a separate BWV number to harmonisations contained in extant larger vocal works such as cantatas and Passions. The Three Wedding Chorales were assigned the numbers 250 to 252, and the 185 (+1: see below) four-part chorales contained in Vol. 39 of the BGA edition were given, in the same order, the numbers 253 to 438. ; Terry (405) : Published in 1929, Charles Sanford Terry's J. S. Bach's Four-Part Chorales contains 405 chorale harmonisations and 95 melodies with figured bass.
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He wrote a book about organ registration and is known as the French translator of the texts of the Bach Chorales.
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Fr. Benik looked at old Gregorian chorales to arrange the music, but he kept the original folklore character of the melodies. Specialists can find similarities to Gregorian hymnals and chorales. Fr. Lawrence Benik CM described how the devotion should be celebrated. Since the beginning it took place on Sundays of the Lent after either High Mass or Vespers.
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Oxford University Press. Accessed September 26, 2015. He also wrote two chorale collections published in 1591 and 1599, which furthered the earlier efforts of Lucas Osiander to devise chorales that could be used in a congregational setting. Raselius's chorales were altogether more sophisticated than those of Osiander, covering five voices with the inner parts given further musical interest.
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His fugues and chorales especially reflect a tonal clarity and use of counterpoint reminiscent of Johann Sebastian Bach, whose music influenced him deeply.
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Scheibe composed concertos, sinfonias, sonatas, suites, partitas and incidental music. His vocal music includes operas, cantatas, oratorios, chorales, mass sections, songs and odes.
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Motets, Chorales, Lieder (4 volumes) :IV. Organ Works (11 volumes) :V. Keyboard and Lute Works (14 volumes) :VI. Chamber Music (5 volumes) :VII.
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Finally in some cases, for reasons unknown, whoever extracted the chorale from the larger work, changed the key of the setting. ; "Y" manuscript hypothesis : Hypothetical early autograph collection of chorale harmonisations from which Bach would have selected settings he later integrated into his larger vocal works. ; Larger vocal works manuscripts : Mostly extant as autograph score and/or as parts written out under Bach's supervision: many of these works, such as cantatas and Passions, include four-part chorales ; Three Wedding Chorales autograph : Bach's autograph of the wedding chorales BWV 250–252, written between 1734 and 1738.D-B Mus.ms.
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Reflecting thoughts on contemporary poetry appear as sequence of recitatives (rec) and arias, sometimes just the latter, and in choral movements. Most chorales are four-part settings. Several movements use a combination of forms, such as an aria with chorale, a chorale fantasia, a chorus with a chorale as a cantus firmus. Chorales were performed by both groups combined, with each voice type in unison.
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They consisted of ninety-eight preludes on sixty-three chorales. Many of his organ works can be found in organ text books and instructional materials today.
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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.
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The work is also special because it reaches the limits of tonality, breaking the status quo of predominant tonal music of the time. The work combines unison songs (Stations I and XIV) with Lutheran chorales (Stations IV and XII), and chorales inspired by Bach's chorales (Station VI), whereas other stations consist of solo organ (or piano). Liszt self wanted to perform the work in the Colosseum with accompaniment by a giant harmonium. However, he never saw the piece performed because the first performance only took place 43 years after the composer's death: it premiered in Budapest on Good Friday 29 March 1929, conducted by the composer Artúr Harmat, Professor of Church Music at the Liszt Academy.
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Piston, 82. Voice overlaps are common in Bach chorales, but again are discouraged or forbidden by most theory texts. In keyboard works, however, voice overlapping is considered appropriate.Williams, 64.
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The melody is also sung to various other lyrics, including various German Lutheran chorales: it has been used as a cantus firmus in a chorale cantata by Johann Sebastian Bach.
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These two chorales have inspired many composers, including Johann Sebastian Bach, whose chorale cantatas Wie schön leuchtet der Morgenstern, BWV 1, and Wachet auf, ruft uns die Stimme, BWV 140, are based on them. Bach's organ transcription of the latter, as published in the Schübler Chorales, has become world famous. Nicolai is supposed to be the last example of the Meistersinger tradition, in which words and music, text and melody stem from one and the same person.Wachet auf, ruft uns die Stimme, translated by: Catherine Winkworth as Wake, Awake, for Night is FlyingKing and Queen of Chorales (Christian Classics Eternal Library) Philipp Nicolai is commemorated in the Calendar of Saints of the Lutheran Church on 26 October together with hymnodists Johann Heermann and Paul Gerhardt.
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The procession to the graveyard is accompanied by the antiphonal playing of chorales by brass choirs.Easter Sunrise Service of the Moravian Church at God's Acre in Old Salem, Carolina Music Ways, 2003.
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In the inner movements, sung by three soloists, Bach depicts in word painting terms such as flood, waves and fury. The closing chorale resembles in complexity the chorales of his Christmas Oratorio.
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Each section combines choruses (a pastoral Sinfonia opens Part II instead of a chorus), chorales and from the soloists recitatives, ariosos and arias. By notational convention the recitatives are in common time.
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Zwei Choralphantasien (two chorale fantasias), Op. 40, are fantasias for organ by Max Reger. He composed the fantasias in 1899 on two chorales: "" and "" They were published by in Munich in May 1900.
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J.S. Bach Chorales: a new critical and complete edition arranged by BWV catalogue number with text and historical contextual information included for each chorale with numerous indices included in the appendix. LuxSitPress, 2017.
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In the Carolingian period, the officially sanctioned chorales developed various additions and modifications called tropes. They developed by the insertion or addition of new melismas or textual melody sections onto the existing tunes.
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The closing chorale, "" (Although it appears that He does not will it), is set for four parts. While Bach's closing chorales are often in simple homophony, the lower voices are set here in unusual polyphony.
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Ton Koopman 2000).Ton Koopman & The Amsterdam Baroque Orchestra: Markus Passion (1731) at . Reconstruction of chorale movements of lost church music is helped by the fact that hundreds of Bach's four-part chorales survive, including separate chorales such as BWV 253–438 and 1122–1126, which are most likely nearly exclusively chorale settings from otherwise lost larger vocal works. With some educated guesswork Bach scholars such as and Klaus Häfner have coupled extant chorale settings with hymn verses in librettos of otherwise lost works.
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Bach took the Gospel text for the composition from Martin Luther's German translation of and . Contemporary poetry in Picander's libretto and chorales comment on the Bible text and open and close most scenes of the narration.
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The third movement, "" (Ah remain with us, Lord Jesus Christ), is a setting of the chorale with a virtuoso part for violincello piccolo. This movement was later adapted as one of the Schübler Chorales, BWV 649.
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In the end of his life he composed and completed organ music over 72 chorales. Elgenmark had on his 80th birthday come to the Opus number 47. He is buried at St. Matthew's Cemetery in Norrköping.
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The chorale cantata was first performed on 24 August 1724, the eleventh Sunday after Trinity that year. Bach composed a chorale prelude, BWV 1114, which became part of the Neumeister Chorales, rediscovered in 1985 by Christoph Wolff.
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Albert Riemenschneider (editor). Bach: 371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass. New York: G. Schirmer, 1941. ; Editio Musica Budapest (388) : Editio Musica Budapest (EMB) published Imre Sulyok's edition of 388 chorale harmonisations in 1982.
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Friedrich Wilhelm Birnstiel was an 18th-century German music publisher known for publishing two volumes of four-part chorales by Johann Sebastian Bach in the 1760s., Johann Sebastian Bachs vierstimmige Choralgesänge, gesammlet von Carl Philipp Emanuel Bach.
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In all, Lohet's pieces represent some of the earliest keyboard fugues in the modern understanding of the word. Lohet's other works are a canzona (which is really a monothematic fugue like the ones described above), two chorales (Erbarm dich mein O Herre Gott and Nun Welche hie ihr hoffnung gar auf Gott den Herren legen) and keyboard transcriptions of a motet (Media vita in morte) and a chanson (De tout mon coeur). The chorales are written in a style reminiscent of the later south German tradition, with the first line set imitatively.
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Movement 6 combines the two stanzas from different chorales, Luther's "" (Grant us peace graciously), and Walter's "" (Give our rulers and all lawgivers peace and good government), in a four-part setting. These two stanzas have a different melody.
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Musical instruments, commonly homemade (e.g., fiddles, lyres, lutes, zithers, and horns) were used. The Gregorian chorales and monodic music appeared in Polish churches and monasteries at the end of the 11th century. The architecture of Poland was also transformed.
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Passion hymns are hymns dedicated to the Passion of Jesus. They are often sung during Passiontide, namely for Maundy Thursday and Good Friday. Many of them were used as chorales in Passions, such as Bach's St John and St Matthew Passion.
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In Germany and Austria, baroque organ music utilized increasing amounts of counterpoint. Organ music in the baroque can be divided into works based on Lutheran chorales (e.g. chorale preludes and chorale fantasias) and those not (e.g. toccatas, fantasias and free preludes).
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He taught himself from textbooks,Abraham, New Grove (1980), 16:29. and followed a strict regimen of composing contrapuntal exercises, fugues, chorales and a cappella choruses. Rimsky-Korsakov eventually became an excellent teacher and a fervent believer in academic training.Maes, 170.
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The structure of the six movements – a gospel quotation in the beginning, chorales as movements 3 and 6, the sequence of recitative and arias – is similar to , first performed one week earlier. Bach first performed the cantata on 14 May 1724.
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Chorales for solo piano are included in, for instance, Franck's Prélude, Choral et Fugue (1884), Satie's Sports et divertissements (1914, published ), and Busoni's Fantasia contrappuntistica (multiple versions, early 1910s). That last composition also exists in the composer's arrangement for two pianos (early 1920s).
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Bastiaans wrote several chorales and works for the organ and piano. He also wrote several melodies for the church book Vervolgbundel op de Evangelische Gezangen. The church song book Liedboek voor de Kerken lists 9 songs that are accompanied by his melodies.
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On January 29, 2012, the centennial of his birth, a Gala Concert featuring several cantors, cantorial soloists, and area chorales was held at K.A.M. Isaiah Israel to celebrate Janowski's life and music. Baritone Sherrill Milnes and mezzo- soprano Isola Jones studied with him.
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Neu Leipziger Gesangbuch.Gottfried Vopelius. Neu Leipziger Gesangbuch. Leipzig: Christoph Klinger, 1682, pp. 926–928. Johann Sebastian Bach set its hymn tune, Zahn No. 352, as a chorale prelude for organ: Nun lasset uns den Leib begraben, BWV 1111, one of the Neumeister Chorales.
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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.
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Oxford University Press, 2002. Oxford Reference Online. Oxford University Press. Accessed 4 November 2018 Pachelbel employed white mensural notation when writing out numerous compositions (several chorales, all ricercars, some fantasias); a notational system that uses hollow note heads and omits bar lines (measure delimiters).
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Bartlett had showed the form to be adaptable for single lyrics, multi-part poems, narratives, group sequences, dramatic compositions, chorales, elegies, and odes. Memory Is No Stranger was then followed by The Gemini Poems (1984)Bartlett, Elizabeth. The Gemini Poems. Brandon, Canada: Pierian Press, 1984.
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"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.
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The Montreal Jubilation Gospel Choir is a choir from Montreal, Quebec, Canada that sings primarily traditional and contemporary Gospel music. The choir's repertoire also includes a mix of music ranging from Gregorian chant to Bach chorales, traditional Zulu music and a modern Jazz: the oratorio.
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Christmas Night received its Scottish premiere on 14 December 2011 at the Usher Hall in Edinburgh performed by the Dollar Academy Combined School Choirs.Dollar Academy Christmas Concert Dollar Academy 14 December 2011 His setting of the St John Passion is an hour-long work premiered by Wells Cathedral Choir in 2013. It follows the format established by Bach, with the story narrated in recitative by a tenor evangelist interspersed with interjections from the chorus (as the crowd) and from Pilate and Jesus, the whole being interleaved with chorales and meditations sung by the choir. Many of the chorales are new settings of popular hymns.
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The Schübler Chorales, BWV 645–650, is a set of chorale preludes for organ, published around 1748 as Sechs Chorale von verschiedener Art (Six Chorales of Various Kinds) by Johann Georg Schübler. ;Publication : There is some doubt whether Bach commissioned the publication, which mainly, perhaps even exclusively, consists of arrangements of cantata movements which he had composed a few decades earlier. The work was published in Zella Melsi, and the engraver apparently prepared the print unsupervised by the composer. It is likely that Bach at least chose the six pieces, determined their sequence in the publication, and gave some instruction on how they were to be arranged.
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En habit de cheval consists of two interlocking pairs of chorales and fugues, Baroque forms as imaginatively reinvented by Satie: :1. Choral (Chorale) - Grave :2. Fugue litanique (Litany Fugue) - Soigneusement et avec lenteur (Carefully and Slowly) :3. Autre choral (Another Chorale) - Non lent (Not Slow) :4.
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The album's production features backup female vocals, church-like chorales, austere beats, strings, and funk samples. The title track overtly interpolates Buffalo Springfield's 1966 song "For What It's Worth" and its vocalist Stephen Stills. It was released as He Got Games only single in May 1998.
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Hodgson A. The recordings of Mogens Wöldike. Classic Record Collector, Summer 2005. After the war he conducted the Swedish Radio Symphony Orchestra and from 1950-67 worked regularly with the Danish Radio Symphony Orchestra. He composed sets of organ chorales published in 1943, 1960 and 1972.
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Bach structured the cantata in six movements, a gospel quotation in the beginning, chorales as movements 3 and 6, otherwise recitatives and arias. He scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of two oboes d'amore, strings and continuo.
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The cantata in six movements is intimately scored for four soloists, soprano (S), alto (A), tenor (T), and bass (B), a four-part choir (SATB) in the chorales, two recorders (Fl), oboe da caccia (Oc), two violins (Vl), viola (Va), and basso continuo. The continuo is playing throughout.
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Moore 1876, 176; Dolmetsch Organisation 2011. A vestige of this survives in Sergei Prokofiev's use of the clef for the cor anglais, as in his symphonies. It occasionally turns up in keyboard music to the present day (for example, in Brahms's Organ Chorales and John Cage's Dream for piano).
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Ebeling's setting was also recorded by Klaus Mertens, accompanied by the pianist Götz Payer (2011),Aus meines Herzens Grunde: Vocal Works by Bach, Schulz, Handel, etc. at Classical Archives website. and by the Stuttgarter Hymnus-Chorknaben, conducted by (1986).Der Tag bricht an: Famous Chorales at Classical Archives website.
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Neumeister's first cycle of cantata texts was Geistliche Cantaten staff einer Kirchen-Music, completed in 1700 and published four years later.Some sources refer to it being published in 1700. He began adding biblical words and chorales from his third cycle onwards. His fifth cycle of 1716 uses ode form.
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The melody associated with Luther's German Magnificat appears in movements 1, 5 and 7. The music of two of the cantata's movements was published in the 18th century: an organ transcription of the duet was published around 1748 as one of the Schübler Chorales, and the closing chorale was included in C. P. E. Bach's 1780s collection of his father's four-part chorales. The entire cantata was published in the first volume of the 19th-century first complete edition of Bach's works. In 20th- and 21st-century concert and recording practice the cantata is often combined with other German-language cantatas, but also several times with settings of the Latin Magnificat, by Bach and other composers.
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The poet includes four stanzas from four different chorales. Two chorale stanzas are already presented in the first movement, "" (Jena 1609) and Martin Luther's "" (1524), a paraphrase of the canticle . Movement 3 is Valerius Herberger's "Valet will ich dir geben", and the closing chorale is the fourth stanza of Nikolaus Herman's "".
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English-speaking Lutherans in America began singing the metrical translations of German chorales by Catherine Winkworth and Jane Laurie Borthwick, and rediscovered their heritage. Although closely associated with the Church of England, Hymns Ancient and Modern was a private venture by a committee, called the Proprietors, chaired by Sir Henry Baker.
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Also performances in Leipzig under Kantor Doles appear to have been limited to such setting. Public concerts with Bach's music outside a liturgical setting were near to non-existent. Four-part chorales published in this period were stripped of their instrumentation and continuo parts, retaining only the four vocal lines.
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Oxford: Oxford University Press. pp. 753–758. Lutheran hymns are sometimes known as chorales. Lutheran hymnody is well known for its doctrinal, didactic, and musical richness. Most Lutheran churches are active musically with choirs, handbell choirs, children's choirs, and occasionally change ringing groups that ring bells in a bell tower.
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Hymns and chorales feature prominently in the instrumental music as well.P.Spicer, KL Premier Recordings, CHAN9132, p.3. A good example is 'The Shining River', which is at the core of the Fantasy on an American Hymn Tune (Op.70, for clarinet, cello and piano), and also permeates the 2nd Symphony (Op.
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Aside from a few fine works for aspiring organists (such as the 79 Chorales op. 28) most of Dupré's music for the organ ranges from moderately to extremely difficult, and some of it makes almost impossible technical demands on the performer (e.g., Évocation op. 37, Suite, op. 39, Deux Esquisses op.
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As well as taking responsibility for re-arranging the ritual, the music was also changed. Jacobson installed an organ. A children's service was set, into which he introduced hymns that used tunes from Protestant chorales. The chanting of the Pentateuch and Prophets and prayers according to traditional modes were discarded.
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"'" (Suffering, pain and death of Jesus) is a German Lutheran hymn by Paul Stockmann. Written in 34 stanzas and published in 1633, it narrates the Passion of Jesus. It was sung to a melody by Melchior Vulpius. Johann Sebastian Bach used three of its stanzas as chorales in his St John Passion.
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It was published as No. 196 in the collection of chorales by Johann Philipp Kirnberger und Carl Philipp Emanuel Bach. Bach's biographer Philipp Spitta counts the hymn tune as one of the few attributed to Bach. He reports that the four-part setting appeared in Balthasar Reimann's Hirschberg chorale book of 1747.
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"Chorales" are works where material is presented primarily (or solely) using chords. An example is Postlude (1978), for piano, in contradistinction to Eirenicon 3 (1978), also for piano, which is a "landscape". The earlier "melodies" were apparently composed at the instrument, intuitively, whereas the later ones evolve from a series of written pitches.
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About half of the chorale harmonisations in this collection have their origin in other extant works by Bach. This collection went through four more editions and countless reprintings until 1897. Several other collections of chorales by J. S. Bach were published, some of these using the original C-clefs or different texts.
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Wolff published the chorale preludes by J. S. Bach in 1985, and a facsimile of the complete collection in 1986.Johann Sebastian Bach, Orgelchoräle der Neumeister-Sammlung / Organ Chorales from the Neumeister Collection, edited by Christoph Wolff (New Haven and Kassel: Yale University Press and Bärenreiter-Verlag, 1985), later appearing as Johann Sebastian Bach: Neue Ausgabe sämtliche Werke, Series IV: Organ Works Volume 9: Orgelchoräle der Neumeister-Sammlung (Organ Chorales from the Neumeister Collection), Score and Critical Commentary (Kassel: Bärenreiter-Verlag for the Johann-Sebastian- Bach-Institut, Göttingen and the Bach-Archiv, Leipzig, 2003).Christoph Wolff (ed.), The Neumeister Collection of Chorale Preludes from the Bach Circle (Yale University Library LM 4708): A Facsimile Edition (New Haven: Yale University Press, 1986).
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C. P. E. Bach's selection of 371 chorale harmonisations was republished a few times in the 19th century, for instance by Carl Ferdinand Becker in 1832 (third edition),; copy in Leipzig City Library: D-LEm II. 1. 4° 103 at Bach Digital website and by Alfred Dörffel in 1870. ; Bach Gesellschaft (larger vocal works + 3 + 185): The Bach- Gesellschaft Ausgabe (BGA, Bach Gesellschaft edition) kept the chorale settings that were part of a larger vocal work (cantata, motet, Passion or oratorio) together with these larger vocal works and added the Three Wedding Chorales to its 13th volume containing wedding cantatas. The remaining separate four-part chorales, purged from doubles, were ordered alphabetically and numbered from 1 to 185 in the 39th volume which was published in 1892.
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Two of its stanzas close the two parts of the cantata in an identical setting. While Bach often composed four-part chorales to end a cantata, he embedded such a setting here in a pastoral instrumental concerto. This music became famous in a piano transcription by Dame Myra Hess as Jesu, Joy of Man's Desiring.
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Chorales derived from Victimae Paschali Laudes include "" (12th century) and Martin Luther's "Christ lag in Todes Banden". The section beginning "Credendum est," with its pejorative reference to the Jews, was deleted in the 1570 missal, which also replaced "praecedet suos (his own)" with "praecedet vos (you)", and added "Amen" and "Alleluia" to the end.
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In 1601, he was elected chief pastor of St. Katherine's Church (Katharinenkirche) in Hamburg.Philipp Nicolai (Hymns and Carols of Christmas.com)Nicolai, Philipp, D.D.(Hymnary.org) He was the author of two famous hymns: Wachet auf, ruft uns die Stimme and Wie schön leuchtet der Morgenstern, sometimes referred to as the King and Queen of Chorales, respectively.
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The track contains a "sledgehammer beat" which is built around French house duo Cassius' 2010 single "I <3 U So". West's production continues in the sonic vein he introduced in My Beautiful Dark Twisted Fantasy, lacing the song with rock dynamics, layering the beat with eerie vocal chorales in the style of progressive rock songs.
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An example from Wenn mein Stündlein vorhanden ist: Example from "Wenn mein Stündlein vorhanden ist" of Pachelbel's chorales, bars 35–54. The chorale in the soprano is highlighted. The piece begins with a chorale fugue (not shown here) that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the cantus firmus, i.e.
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Schlosskirche, Wittenberg, main door As Hofmann points out, Bach achieved "festive magnificence", using two horns and timpani not only in the opening chorus but also as obbligato instruments in the two chorales. Bach established unity of form by using a horn motif from the first movement again in the first chorale, juxtaposed to the hymn tune.
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Damien Lauretta Lauretta is a young French singer, dancer and actor born in 1992. He participated in several music programs, such as the Bataille des chorales, and Grand show des enfants. But his first real appearance on television was when he participated at X Factor in 2011. He joined the group 2nd Nature before being eliminated in sixth prime.
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The Bach chorales in the Neumeister Collection attracted the interest of organists even before they were published. They were first performed privately by Wilhelm Krumbach at Utrecht in January 1985, and publicly by John Ferris and Charles Krigbaum at Yale in March.Eleanor Charles, "Bach works make debut today", The New York Times, 17 March 1985. Accessed 13 March 2014.
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Just as Zimmermann allows temporal levels to flow into one another, he also makes use of musical styles from several periods. Jazz rhythms (as in the coffee house scene), J. S. Bach chorales (from the St Matthew Passion), a folksong and the Dies irae plainchant sequence are juxtaposed and assembled in a way which creates a score which seethes with tension.
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Tchaikovsky drew upon a huge body of traditional Slavonic chants for the work. The melody of the chant is usually used as the soprano line, with simple harmonisation for the alto, tenor and bass lines. He rarely departs from this homophonic style, save for brief polyphonic sections in the "Gladsome Light" and "Polyeleon" movements. This use of homophony shares similarities with German chorales.
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A Phrygian chorale melody, well known as the melody of "", provides the musical theme of the cantata, appearing in movement one in both its original form and the alto line derived from it. The themes of the two other arias are taken from the same melody, providing formal unity. The same melody appears five times in chorales of Bach's St Matthew Passion.
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Ekkehart, later abbot and important historian of the abbey, reports that Hartmann was focussed on the monastic and scientific aspects of life in the abbey. He seems to have been particularly concerned with school and singing of chorales. However, Ekkehart also says that he neglected the administration of the abbey goods, to the detriment of the abbey.Gössi, Anton: Kurzbiographien der Äbte.
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The Mission is the soundtrack from the film of the same name (directed by Roland Joffé), composed, orchestrated, conducted and produced by Ennio Morricone. The work combines liturgical chorales, native drumming, and Spanish-influenced guitars, often in the same track, in an attempt to capture the varying cultures depicted in the film.The Mission soundtrack review at Filmtracks.com. Retrieved 2011-03-27.
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The six trio sonatas demand high virtuosity and expressive sensitivity from performers. As Zelenka was himself a violone player, he was known to write fast-moving continuo parts with driving and complicated rhythm. Zelenka was aware of the music in different regions of Europe. He wrote complex fugues, ornate operatic arias, galant-style dances, baroque recitatives, Palestrina-like chorales, and virtuosic concertos.
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II. LITURGICAL YEAR A: From Advent to Pentecost This segment of "Liturgical Year A" incorporated twelve organ Preludes and Fugues and Das Orgelbüchlein, the collection of chorales preludes outlining the Liturgical Year. III. THE LUTHERAN MASS This segment centered on the development of liturgical and theological thought that crystallized during the Protestant Reformation. Drawing from Bach’s collection of chorales from Clavier-Übung III, sometimes referred to as “The Lutheran Mass,” each Vesper service focused on a particular segment of the Protestant worship service, doctrine, article of faith. IV. LITURGICAL YEAR B: From Advent to Pentecost The last segment of the Liturgical Year incorporated remaining Preludes, Toccatas, Fantasias with corresponding Fugues, as well as miscellaneous organ pieces and chorale preludes by J. S. Bach, arranged to follow the cycles of The Liturgical Calendar, from Advent to Pentecost.
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Extract of frontispiece of the first volume of Daniel Vetter's Musicalische Kirch- und Hauß-Ergötzlichkeit (1716 reprint), containing an image of the composer. Friedrich Wilhelm Birnstiel's first volume of Bach chorales (1765), p. 3, containing BWV 267 by J. S. Bach and BWV Anh. 203 by D. Vetter. Daniel Vetter (1657/1658 – 7 February 1721) was an organist and composer of the German Baroque era.
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C.P.U. Bach is an interactive music-generating program designed by Sid Meier and Jeff Briggs for the 3DO. It can create Baroque music in the style of Bach for various keyboard, wind, or string instruments and in a variety of forms (e.g., concerti, fugues, minuets, chorales). The compositions are then performed by the software with synchronous 3D graphics on screen showing the virtual instruments being played.
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Many of his compositions are based on the spiritual phrasing of Rhau, creating complex motets with virtuoso cantus-firmus treatment from simple strophic material. His songs are in the tradition of the German partsong, influenced by the Renaissance madrigal.Sadie, p.539 He was among the early composers to write chorales with the melody defined in the treble, writing in this manner as early as 1566.
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Bertil H. van Boer divides Kraus's sacred music into two periods. The first, from 1768 to 1777, comprises Kraus's music written as a Roman Catholic for Catholic services. For the second, from 1778 to 1790, Kraus was still Catholic, but wrote music for Lutheran services. Aside from short hymns and chorales, there was not much use for sacred music in Sweden at that time.
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However, Paco Park Presents continues to celebrate its anniversary every February. In addition, "Paco Park Presents" features the finest musical artists and chorales, local and guests performers for an evening of classical and traditional Filipino music every Friday by sunset but it was used to aired on the People's Television Network (PTV). Due to the COVID-19 pandemic, Paco Park was temporarily closed to the public.
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There are two short chorales. The first, at bars 71-72 marks the transition from B section back to A, while the second, at 98-101, concludes the piece, in F major. The piece was described by Frederick Niecks (Chopin's biographer) as: "we will note only the flebile (feeble) dolcezza of the first and the last section, and the inferiority of the more impassioned middle section".
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The libretto "after words of holy scripture" was begun in 1832. The composer with pastor Julius Schubring, a childhood friend, pulled together passages from the New Testament, chiefly the Acts of the Apostles, and the Old, as well as the texts of chorales and hymns, in a polyglot manner after Bach's model. Composition of the music started in 1834 and was complete in early 1836.
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A tenor soloist narrates the Biblical story in recitative as the Evangelist. The soprano soloist makes a first appearance in the oratorio as the angel, and is followed by the choir representing the angels singing "Glory to God in the Highest". There are three chorales, one by Johann Rist and two by Paul Gerhardt, both using the melody of Luther's "Vom Himmel hoch, da komm ich her".
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The melody, also from 1662, is by Johann Rudolf Ahle, who collaborated with Burmeister on several hymns. He was church musician at Divi Blasii in Mühlhausen, a position Bach later also held. The tune begins with an unusual motif of three upward whole-tone intervals, the first half of a whole- tone scale and also the first three notes of the diatonic Lydian mode.BWV 60.5 bach-chorales.
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The Weimarer Passion, BWV deest (BC D 1), is a hypothetical Passion oratorio by Johann Sebastian Bach, thought to have possibly been performed on Good Friday 26 March 1717 at Gotha on the basis of a payment of 12 Thaler on 12 April 1717 to "Concert Meister Bachen".Weimarer Passion BWV deest; BC D 1 / Passion It is one of several such lost Passions. Both the text (by an unknown librettist) and music are lost, but individual movements from this work could have been reused in latter works such as the Johannes-Passion. At one time, it was thought that the work set chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias, but current consensus is that it is possible that the text reflected a synopsis of two or more Gospel texts, as well as the interspersed chorales and arias.
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Each Vesper service opened with a major prelude, toccata, or fantasia. Traditionally, a strophic version of Phos Hilaron is sung, or a Vesper Proclamation. Scriptural texts were then chanted by the cantor or recited antiphonally by the congregation; these are selected according to the Liturgical Calendar. The congregation was also led in singing hymns ("chorales"); each chorale is then followed by an organ chorale prelude by Bach, written on that chorale.
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The St John Passion, BWV 245 is the first Passion Bach composed during his tenure as Thomaskantor in Leipzig, a tenure that started after the Easter season of 1723. Apart from the German translation of parts of the Gospel of St John and several Lutheran chorales, it used text of the Brockes Passion for its arias. The Passion was performed on Good Friday of 1724, 1725, 1732 and 1749.
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Reflective chorales and arias were inserted at predefined points in the narrative, providing commentary on the Passion events. The length was generally carefully kept within one hour. The Passion for the year was performed five times during Lent, once in each church. They were performed starting in the oldest church and moving to the youngest church as follows: St. Peter, St. Nicholas, St. Catherine, St. James and St. Michael.
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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.
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The band's third album, Following the Voice of Blood, was recorded 25 September 1996 - 18 December 1996 and released in 1997 via No Colours. With the 1998 album, Immortal Pride (strongly influenced by the movie soundtrack of Conan the Barbarian), the band took on a folk style, while moving more into Viking metal. Its sound became more epic, symphonic, and added more keyboards and chorales. The songs also became much longer.
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In addition to the new compositions listed above, special mention must go to the recitatives, which knit together the oratorio into a coherent whole. In particular, Bach made particularly effective use of recitative when combining it with chorales in no. 7 of part I ("Er ist auf Erden kommen arm") and even more ingeniously in the recitatives nos. 38 and 40 which frame the "Echo Aria" ("Flößt, mein Heiland"), no.
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The Dahl Chapel and Auditorium is the oldest academic building on the Monmouth College campus. It was built in 1896 and renovated in 2003. In the Monmouth College music department, majors and non-majors alike have the opportunity to perform in ensembles including Chorales, male and female a capella, Marching Band, concert bands and an orchestra. The college also has a gospel choir and provides opportunities for musical theater.
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The music at church, usually simple German chorales, was performed a cappella. This style of music serves as a reminder to many Mennonites of their simple lives, as well as their history as a persecuted people. Some branches of Mennonites have retained this "plain" lifestyle into modern times. The Mennonite World Conference was founded at the first conference in Basel, in Switzerland, in 1925 to celebrate the 400th anniversary of Anabaptism.
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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.
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Released in 1997, and building on the style established in Adiemus: Songs of Sanctuary, Jenkins broadens his musical approach to Cantata Mundi by including instrumentation and techniques from Eastern Europe, Arabia, and Asia. Compared to the earlier work, the orchestra is also expanded to include woodwinds and brass. The overall form of this album is a cantata of fourteen movements alternating between longer 'cantus' pieces and brief 'chorales'.
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Beginning in the 16th century, polyphony, or the intertwining of multiple melodies, arrived in Germany. Protestant chorales predominated; in contrast to Catholic music, chorale was vibrant and energetic. Composers included Dieterich Buxtehude, Heinrich Schütz and Martin Luther, leader of the Protestant Reformation. Luther happened to accompany his sung hymns with a lute, later recreated as the waldzither that became a national instrument of Germany in the 20th century.
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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.
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In 1736, Schemelli published in Leipzig his Musicalisches Gesang-Buch (Musical song book), also known as Schemellis Gesangbuch, a collection of 954 sacred songs with texts in the tradition of pietism, and probably intended for private contemplation. Only 69 of the songs come with music, a melody and a bass line. The melodies are often like simple arias, rather than like chorales. Bach contributed to the collection, but musicologists debate to what extent.
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His breakthrough recording was Alexander Gretchaninov's Passion Week, also featuring the two Chorales together. It won the 2007 Grammy award for "Best Engineered Classical Album". His albums were nominated for 12 Grammy awards total, including four nominations in 2007 for Passion Week, two in 2008 for Sacred Choral Works of Josef Rheinberger, two in 2008 for Spotless Rose, two in 2012 for Life and Breath, and two in 2015 for All-Night Vigil.
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CPE Bach made a few revisions to the libretto in his setting. CPE Bach first premiered the work in a private performance on Easter Saturday, April 2, 1774. Four years later, a revised edition was performed on March 18, 1778 in the "Auf dem Kamp" concert hall in Hamburg. From its lack of chorales, it seems that the oratorio was composed expressly for a concert hall audience rather than any church congregation.
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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".
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Johann Matthäus Meyfart, the poet of the hymn The closing chorale, "" (O great God of faithfulness), by Johann Matthäus Meyfart is a four-part setting, with the recorders playing "isolated little episodes between the lines of the chorales". They are reminiscent of the motifs of mourning heard in movement 2. The elaborate setting with instrumental interludes is similar as in Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105, composed a week earlier.
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The anthem begins with a chorus that recalls the chorales used in the Lutheran church services Handel attended and composed music for as a young man. The musical material is developed contrapuntally and ends in an impressive fugue. Tender choruses "When the ear heard her" and "She delivered the poor", expressing the Queen's gentle character, alternate with repeated and powerful choral interjections of "How are the mighty fall'n." The work comes to a quiet conclusion.
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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.
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Markus Rathey. 2016. Bach’s Major Vocal Works. Music, Drama, Liturgy, Yale University Press The structure of the work falls in two halves, intended to flank a sermon. The anonymous libretto draws on existing works (notably Brockes') and is compiled from recitatives and choruses narrating the Passion of Christ as told in the Gospel of John, ariosos and arias reflecting on the action, and chorales using hymn tunes and texts familiar to a congregation of Bach's contemporaries.
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Bach transcribed the second movement of cantata 137 as the last of his Schübler Chorales for solo organ, BWV 650. Several other notable composers used the tune in chorale preludes for organ, including Johann Gottfried Walther and Johann Philipp Kirnberger. Max Reger also wrote preludes on the tune, as No. 24 of his 52 Chorale Preludes, Op. 67 in 1902, and as part of his collection Op. 135a. He also used the tune in Sieben Stücke, Op. 145.
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Sigmund Hemmel (1520–1565) was a German composer, tenor, and Kapellmeister in Stuttgart, Württemberg. He was said to have used a "large polished slate stone for composing." He was director of the Hofkapelle Stuttgart from 1552 to 1554. He is perhaps best known for his Das Ganz Psalter Davids, a "collection of four-voiced settings of chorales with melody in the tenor voice according to the old custom" published posthumously by Osiander in Tübingen in 1569.
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Retrieved 18 March 2017 via Google Books Spin gave the album an A- rating, called it "utterly seductive", commenting on "lovely, lulling, ticktock keyboard backdrops...for her exquisite chorales about disco balls and the cold winds.""Breakdown: Ana da Silva The Lighthouse", Spin, April 2005, p. 108. Retrieved 18 March 2017 vis Google Books Heather Phares, reviewing the album for Allmusic, gave it a 4-star review, calling it "striking and pure". Critics drew comparisons with Björk and Pram.
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While soloists and a choir perform the mass, set to chorales taken from the Gradual, the orchestra provides a running commentary that sometimes follows a particular chorale but more often is "rather free and extensive" in style. "Yet musically almost all these sections blend the choral [sic] tune and subsequent extensive orchestral 'commentary.'"Ivashkin, notes for Chandos 9519, 5. The work becomes what Schnittke called an "Invisible Mass,"As cited in Ivanskin, notes to Chandos 9519, 5.
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Clarke was drafted into the US Army and reported for induction in 1943. During his basic training in 1944, he married singer Carmen McRae. He went absent without leave for nearly four months, during which time he played with Cootie Williams and Dinah Washington, before being captured and sent to Europe. he eventually became part of the Special Services where he led and sang in chorales and performed on drums, trombone, and piano in various bands.
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Pepping is regarded as one of the most important composers of Protestant church music in the 20th century. His sacred works for choir a cappella included masses such as the , motets and chorales, for example the collection Spandauer Chorbuch (Spandau choir book). He also composed secular vocal music, organ music, orchestral works including three symphonies, and chamber music. Pepping based his church music on Protestant hymns, the vocal polyphony of the 16th and 17th century and modal keys.
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He introduced it: "" (A spiritual bridal song of the believing soul / concerning Jesus Christ, her heavenly bridegroom, founded on the 45th Psalm of the prophet David). This hymn is often referred to as "The Queen of Chorales". The hymn tune of "", Zahn No. 8359, was codified then, but research by C. S. Terry has shown that the melody is at least 61 years older than Nicolai's publication.C. Sanford Terry: "A Note on the Tune, ", The Musical Times, Vol.
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He refused many generous and more munificent offers, including one in 1790 from Duchess Anna Amalia of Saxe-Weimar to travel to Italy, remaining in Erfurt for the rest of his life. He played many evening recitals there and was famous as a virtuoso organist; Goethe, Herder, and Wieland all went to hear him play, and he made a concert tour to Hamburg in 1800, remaining there for a year while preparing a book of chorales for Schleswig-Holstein.
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Johann Sebastian Bach based one of his four-part chorales, "Lobet den Herren, denn er ist sehr freundlich", BWV 374, on a hymn tune derived from Scandello's setting.BWV 374 at Luke Dahn's website. The lyrics of the opening chorus of Bach's 1723 cantata Preise, Jerusalem, den Herrn, BWV 119 ("Praise the Lord, Jerusalem"), for the inauguration of a new town council in Leipzig, are a dictum taken from a prose translation of verses 12–14 of Psalm 147.
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Each work in Musicalische Sterbens- Gedancken begins with a four-part chorale setting followed by several variations, mostly in three voices. At the end, the four-part setting is played again. The variations themselves are not connected to individual stanzas of the chorales. The melodies Christus, der ist mein Leben and Herzlich tut mich verlangen date from the early 17th century, while the other two appeared during its second half and so are from Pachelbel's own time.
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The inner movements are alternating recitatives and arias. The chorales are the only movements which were certainly newly composed for the occasion. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of three oboes, bassoon, strings and continuo. After the first performance in Störmthal, Bach performed the cantata again in Leipzig for Trinity Sunday, first on 4 June 1724, a shortened version in 1726, and the complete version in 1731.
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Bishop Hawkins also had a granddaughter, Jahve Neru Deana Hawkins, and a grandson, Jamie Daniel Hawkins. Bishop Hawkins started his career in one of his brother's chorales, the Northern California State Youth Choir of the Church of God in Christ. The choir recorded an album in 1968 as a local fundraiser. When a song from that album, "Oh Happy Day", became a crossover hit, Buddah Records purchased the master and released it as "the Edwin Hawkins Singers".
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According to the Bach scholar Christoph Wolff, the text was already available when Bach composed his cycle of chorale cantatas. Bach performed the cantata only once, in Leipzig's main church Nikolaikirche on 25 November 1731. According to Wolff, Bach performed it only this one time, although the 27th Sunday after Trinity occurred one more time during his tenure in Leipzig, in 1742. Bach used the central movement as the basis for the first of his Schübler Chorales, BWV 645.
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The piece is scored for male chorus with two brass orchestras and timpani, and consists of four parts, the first and last based on established Lutheran chorales. Part 2, beginning "Vaterland, in deinen Gauen", was later adapted to the words of Wesley’s Christmas carol "Hark! The Herald Angels Sing" (against Wesley's original request, as he had originally wanted more somber music, though he had been long deceased by this point). The original German words for Festgesang were by Adolf Eduard Proelss (1803–1882).
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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.
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Around the arch of the niche was a motto, 'With his whole heart he sang songs and loved Him that made him.' On that occasion two Bach chorales were conducted by Vaughan Williams.W. & R. Elwes 1935, pp. 277–8. Sir John Barbirolli (a successor of the original conductor of Gerontius, Hans Richter, as conductor of the Hallé Orchestra, who had played as an orchestral cellist in Gerontius under Elgar's baton with Elwes performing the Soul) remembered Elwes as 'that great and noble artist'.
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He used a cantata text by Erdmann Neumeister, published already in 1714 in the collection (Spiritual poetry with inserted biblical quotations and chorales). In a composition of symmetry, Neumeister placed in the centre a quotation from the Sermon on the Mount in the Gospel of Matthew, "Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the law and the prophets." (). He framed it by two recitatives, and those by two arias.
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The chorale trio has the form of a trio sonata in which the upper parts are played on the two keyboards of the organ and the basso continuo part is played on the pedals. Bach elevated this form to the status of contemporary Italian trio sonatas or double concertos of Antonio Vivaldi and Giuseppe Torelli: it is probably his single most original innovation in the repertoire of organ chorales. The three virtuosic chorale preludes of this type are BWV 655, 660 and 664.
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The track contains a "sledgehammer beat" which is "built around French house duo Cassius' 2010 single "I <3 U So". West, who co- produced the track, "continues in the sonic vein he introduced in My Beautiful Dark Twisted Fantasy, lacing the songs with rock dynamics, layering his beats with eerie vocal chorales, piling on proggy flourishes." "Slashing violin parts" come in on the bridge before the song ends abruptly. Lyrically the song is about "Jay's dismay at past crewmates' betrayals.
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Chorales also appear in chorale preludes, pieces generally for organ originally designed to be played immediately before the congregational singing of the hymn, but developed into an autonomous genre by north-German composers of the middle and late 17th century, particularly Dieterich Buxtehude. A chorale prelude includes the melody of the chorale, and adds contrapuntal lines. One of the first composers to write chorale preludes was Samuel Scheidt. Bach's many chorale preludes are the best-known examples of the form.
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He wrote a number of compositions for the stage, a symphony, over a hundred mélodies, piano works, and a wide range of sacred music, including cantatas, motets, masses, chorales, and a noted oratorio, Les Saintes-Marie de la mer. His opera Patrie! of 1886 was his greatest success, and was one of the last grand operas to premiere at the Paris Opéra. It was a piece d'occasion, created for a gala in honour of the French colony in Monaco, but had a Flemish-nationalist theme.
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Reger is known for quoting chorales in general and this one in particular, most often referring to its last stanza ', which Bach included in the Passion right after the death of Jesus. The corresponding text would then be ' (When I must depart one day, do not part from me then. When the greatest anxiety ...). Reger completes the chorale setting for the chorus, without further reference to the chorale melody, while the solo voice repeats at the same time ', concluding with descending tones of more than an octave.
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Dieterich Buxtehude set the hymn as a chorale cantata, BuxWV 102, for choir, two violins and continuo. Johann Sebastian Bach composed a chorale cantata, Wär Gott nicht mit uns diese Zeit, BWV 14, in 1725 for the fourth Sunday after Epiphany. In this cantata he uses the Zahn 4434 tune. For "Wär Gott nicht mit uns diese Zeit", BWV 257, one of his four-part chorales, he used the Zahn 4441a melody, one of the hymn tunes composed for "Wo Gott der Herr nicht bei uns hält".
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In 2008, he composed the soundtrack for the film "Incontrôlable" starring Michael Youn. Writing and arranging musical pieces for many shows Essaï also directed entire musical productions such as mythical Parisian Cabarets, "Bobino". Since 2010, Essaï has been the musical director for "La Bataille des chorales, Le grand show des enfants, Pop's Cool, L'Ecole des fans "—all of them were on air on the TF1 channel (France). Taking a big step across the Atlantic to the United States Essaï reached out to Kerry Gordy from Motown music.
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Examples of this may still be found in various places, including the "free churches" of western Scotland. The other Reformation approach, favored by Martin Luther, produced a burst of hymn writing and congregational singing. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The earlier English writers tended to paraphrase biblical text, particularly Psalms; Isaac Watts followed this tradition, but is also credited as having written the first English hymn which was not a direct paraphrase of Scripture.
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Johann Sebastian Bach used the hymn tune in several of his chorale preludes for organ. One early setting (BWV 737) can be found in the collection of Neumeister Chorales. There is a four-part setting BWV 636 in his Orgelbüchlein (Little Organ Book). Bach's late Clavier-Übung III (German Organ Mass) contains a pair of settings BWV 682-683: an elaborate one for five voices with the cantus firmus in canon over a trio sonata ritornello; and a shorter four-part setting for single manual.
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French Suite No. 5 (BWV 816). The title Notebook for Anna Magdalena Bach () refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family.
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The chorale melodies and their texts would have been known to those attending the services in the St Thomas church. The oldest chorale Bach used in the St Matthew Passion dates from 1525. Three chorales are written by Paul Gerhardt and Bach included five stanzas from his O Haupt voll Blut und Wunden. Bach used the hymns in different ways, most are four-part setting, two as the of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative.
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He made his debut at the Staatsoper Berlin in the title role of Wolfgang Mitterer's children's opera Das tapfere Schneiderlein. He appeared in three roles in a revival of Lully's Atys at the Theater Kiel in 2014. In 2015, he appeared with the Deutsche Kammerphilharmonie Bremen in a leading role in a community opera (Stadtteil-Oper), Sehnsucht nach Isfahan, with music by Handel, Mohammad Reza Mortazavi and Rabih Lahoud. With others, he arranged Bach's St John Passion for one singer, keyboard and percussion, intended for audience participation in the chorales.
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Due to the coronavirus pandemic, there was no audience, and therefore the chorales were added by a vocal ensemble at the church, conducted by Gotthold Schwarz, and choirs from Germany, Switzerland, Canada and Malaysia. The concert was organized by the Bachfest Leipzig festival, while the festival in June, and the traditional performances of Bach's Passion on Good Friday, had to be cancelled. The event was described as "Passion trotz(t) Pandemie", in English as "Passion, proof against the pandemic". It has been regarded as an extraordinary media event of emotional greatness.
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A decade after the Leipzig Affair, Kauffmann started to publish in sequential volumes his Harmonische Seelenlust which were a complete edition of his organ chorales. However, he died of consumption in Merseburg on 24 March 1735 before they had been completely published. His widow saw the endeavor though and completed the publication of the Harmonische Seelenlust. While they did not make a great first impression, over the next century they became one of the most significant achievements in German organ music, and remained in high demand well into the 19th century.
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Bach's first version, BC 5a, originated in the early 1710s in Weimar.The Life of Bach - Page 21 Peter Williams - 2003 "... left their mark on Bach, for at some point he arranged chamber sonatas by Reinken for keyboard (e.g. BWV 965 and 966, perhaps as late as 1715), copied F. N. Brauns's St Mark Passion (performing it in Weimar, as later in Leipzig?) ..." Whether he changed anything to the original is uncertain, but the arrangement of the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorales is usually attributed to him.
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His doctoral thesis Rhetoric and Schemata: Improvising the Chorale Prelude in the 18th-century Lutheran Tradition investigates the pedagogical, cultural and methodological role of the Lutheran Chorales in teaching improvisation in the eighteenth century. Karosi has completed the academic portion of his doctoral studies at the Yale School of Music. He earned Master’s degrees from the Yale School of Music, the Oberlin Conservatory, the Liszt Academy in Budapest, and a Prix de Virtuosité from the Conservatoire Supérieur de Genève. He is under management with Penny Lorenz Artist Management.
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Dudley arranged Bach's Chaconne from Partita in D minor for piano trio, and a recording by the Eroica Trio appears on their Baroque album. Her album Ancient and Modern, with modern versions of some traditional hymns and Bach chorales, was released in 1999. She was the musical director for Bill Bailey's Remarkable Guide to the Orchestra, first performed in Brighton then at the Royal Albert Hall in 2008, which was recorded and released as a DVD in December 2009. The show was toured in 2009 with eight different regional orchestras participating.
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In addition to these string quintets, he wrote nearly 100 vocal works. "Secular" groups—chamber ensembles and concert bands—developed along a parallel stream to the "trombone choirs". While the trombone choirs and church bands focus their attention primarily on chorales, the community bands and chamber ensembles play primarily what we would now call "secular" music -- chamber music, marches, dances, arrangements of popular music of various sorts. These groups provide not only entertainment for player and audience alike but also enable the players to improve through playing more challenging music.
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Brahms composed the two motets based on Biblical texts and chorales but without a liturgical occasion in mind. He first wrote O Heiland, reiß die Himmel auf as individual settings of the five stanzas of Friedrich von Spee's Advent song "O Heiland, reiß die Himmel auf", possibly in 1863/64. In Pörtschach in 1877, he wrote Warum ist das Licht gegeben dem Mühseligen?. As for his earlier Ein deutsches Requiem, he chose biblical texts from the Book of Job, the Book of Lamentations, and the Epistle of James.
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While progressive in writing in the Venetian style, he was conservative in using Latin and avoiding the basso continuo, which was eagerly adopted by many other contemporary German composers. Most of his vocal music is a cappella. Praetorius was also the first composer to compile a collection of four-part German chorales with organ accompaniment, a sound which was to become a standard in Protestant churches for several centuries. The music in the collection was compiled from four churches in Hamburg; 21 of the 88 settings are of his own composition.
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Magnificat's repertoire includes the genres of sacred music motets, masses, vespers, cantatas and oratorios, as well as vocal chamber music, opera, pastorales and other works for the stage. It is particularly noted for its musical reconstruction of religious works in the liturgical context in which they were first performed. Religious works are performed with all the music a 17th-century audience would have heard in church including liturgical chants and prayers. Audiences are invited to join in singing congregational hymns and chorales that form part of the reconstruction.
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Bach structured the cantata in five movements, an instrumental sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored the work, like other cantatas written in Weimar, for a small ensemble of three vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir only in the chorales, and a Baroque instrumental ensemble of four violas (Va), cello (Vc), bassoon (Fg) and basso continuo. The setting for four violas is unusual. In a similar orchestration, the Brandenburg Concerto No. 6 also omits violins.
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Ferdinand Gregorovius, a 19th- century traveller and enthusiast of Corsican culture, reported that the preferred form of the literary tradition of his time was the vocero, a type of polyphonic ballad originating from funeral obsequies. These laments were similar in form to the chorales of Greek drama except that the leader could improvise. Some performers were noted at this, such as the 1700s Mariola della Piazzole and Clorinda Franseschi. However, the trail of written popular literature of known date in Corsican currently goes no further back than the 17th century.
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An email interview with Howard Skempton conducted by Malcolm Atkins between November 2002 and February 2003 It was also in the 1970s that Skempton started composing chamber works, although these were almost always for two performers, since they were written to be performed by the duo of Skempton himself and Michael Parsons. These pieces included a number of horn duos, pieces for two drums, and a duet for piano and woodblocks. Finally, in the 1970s Skempton started playing accordion and composing for this instrument. In 1980 Skempton composed Chorales, his first major work for orchestra.
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Many music school ensembles also perform at Carnegie Music Hall in Oakland. Instrumental ensembles include the Symphony Orchestra (conductor Daniel Meyer), the Wind Symphony (conductor Robert Cameron) and Symphony Band (conductor Robert Cameron), the Contemporary Ensemble (conductor David Cutler), the Jazz Bands (conductors Sean Jones (trumpeter) and Mike Tomaro) and many other chamber groups. Vocal Ensembles include the Opera Workshop (director Meghan DeWald), the Voices of Spirit (conductor Dr. Caron Daley) and the Pappert Women's and Men's chorales. Performances are regular for each ensemble, and tours abroad are common for many.
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In this sense, musicologist Mark Evans Bonds writes, the symphonies of Liszt and Mahler owe a debt of influence to Berlioz. More recently, Alfred Schnittke allowed the programmatic aspects of his texts to dictate the course of both his choral symphonies even when no words were being sung. Schnittke's six- movement Second Symphony, following the Ordinary of the Mass of the Roman Catholic Church, works programmatically on two levels simultaneously. While soloists and chorus briefly perform the mass, set to chorales taken from the Gradual,Ivashkin, notes for Chandos 9519, 5.
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Composer Richard Wagner in act III of his opera Die Meistersinger von Nürnberg, used the word Bar incorrectly as referring to a stanza of the prize song. This was based on his misreading of Wagenseil. In addition, Bach's famous biographer Spitta in his monumental 1873–80 biography, emphasized the role of Lutheran chorales, almost all of which are in AAB form, in what he considered the most mature of Bach's cantatas. Composer Johannes Brahms claimed the AAB form of the chorale "Jesu, meine Freude" generates larger formal structures in Bach's motet of the same name.
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Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734, a work in six parts to be performed on six occasions during Christmas tide. He had composed an Easter Oratorio already in 1725. The composition for Ascension appeared thus in the same liturgical year as the Christmas Oratorio. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had written the libretti for the St Matthew Passion and the Christmas Oratorio, among others.
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Two main themes are present in this introduction that reappear in different forms all through Part 2 (Examples 6 and 7). Also present in this part of the opera are Hussite chorales and hymns, one of which can be heard building as Brouček and Domšík go into the Týn Church on the Old Town Square. The chorale then culminates in a proud statement in C major. One of Janáček's compositional procedures is the significant use of the pitch Ab/G# in the last forty minutes of the opera.
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In the opening chorus the soprano and the horn present line by line the , a melody by Andreas Hammerschmidt, who collaborated with Keymann on chorales. The lower voices are set mostly in homophony, while the orchestra plays its own themes in introduction, interludes and accompaniment. The character of the movement is a minuet, and the oboe d'amore takes a virtuosic concertante leading part. The phrase "" (cling to him like a burr) is illustrated by all three lower voices holding a note for three measures as if clinging to it.
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Soon afterwards he obtained an appointment as musician in the house of Jacob Fugger, the Augsburg banker. In 1583 he became assistant conductor, and in 1599 conductor at Königsberg to Georg Friedrich, Margrave of Brandenburg- Anspach, the administrator of the Duchy of Prussia. In 1608 he was called by Joachim Frederick, Elector of Brandenburg as principal conductor in Berlin, but this post he held only for three years, owing to his death at Königsberg in 1611. Eccard's works consist exclusively of vocal compositions, such as songs, sacred cantatas and chorales for four or five, and sometimes for seven, eight, or even nine voices.
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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.
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A third chorale is quoted repeatedly in the continuo, "". Christoph Wolff notes that on Good Friday of that year Bach would perform the second version of his St John Passion, replacing the opening and the closing movement of the first version by music based on chorales, "" which would become the final movement of the first part of the St Matthew Passion, and again "". Bach chose a rare instrumentation for the first aria, the oboe plays a melody, supported by short chords in the recorders, in the middle section (funeral bells) are depicted by pizzicato string sounds. Movement 4 illustrates the Day of Judgement.
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Delphine Ugalde as Béatrix in Armand Limnander van Nieuwenhovens opera The Montenegrins. Born to a family who formerly belonged to the bar of the late Council of Flanders, ennobled in 1683, Armand Limnander van Nieuwenhoven was raised in the village of Malines. Thys, Augustin (1855), Historique des sociétés chorales de Belgique, p. 173, De Busscher, He studied in Freiburg with Louis Lambillotte and in Paris with François-Joseph Fétis, director of the Royal Conservatory of Brussels.Rice, Albert R. (2009), From the Clarinet D'Amour to the Contra Bass: A History of Large Size Clarinets, 1740-1860, p.
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According to Richard D. P. Jones, several movements of the motet show a style too advanced to have been written in 1723, so that the final arrangement of the work likely happened in the late 1720s, around the time when two other motets which can be dated with more certainty, Singet dem Herrn ein neues Lied and the funeral motet Der Geist hilft unser Schwachheit auf, BWV 226, were written. The Dietel manuscript, written around 1735, contains three chorales extracted from the motet: the composition of the motet is supposed to have been completed before that time.
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These groups share Moravian vocal music by performing regularly in their local communities. Occasionally they employ instrumental ensembles to accompany them and to perform some of the many instrumental pieces found in the Moravian collections. In addition to the Moramus and Unitas Chorales, the Moravian Music Foundation has provided music and programming support to Moravian College in Bethlehem, PA; North Carolina School of the Arts; Magnolia Baroque Festival; Rollins College in Winter Park, FL; the American Brass Quintet; and Carolina Pro Musica, as well as to various Moravian and other denomination churches, community ensembles, and other professional groups.
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Villa-Lobos's final major work was the music for the film Green Mansions (though in the end, most of his score was replaced with music by Bronislaw KaperGreen Mansions film credits.) and its arrangement as Floresta do Amazonas for orchestra, as well as some short songs issued separately. In 1957, he wrote a Seventeenth String Quartet, whose austerity of technique and emotional intensity "provide a eulogy to his craft". His Bendita Sabedoria, a sequence of a cappella chorales written in 1958, is a similarly simple setting of Latin biblical texts. These works lack the pictorialism of his more public music.
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Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions this is basically added music (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic and fugues as polyphonic), many composers use more than one type of texture in the same piece of music. A simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. A more recent type of texture first used by György Ligeti is micropolyphony. Other textures include polythematic, polyrhythmic, onomatopoeic, compound, and mixed or composite textures .
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" She calls them "bad scores" in the sense that they "do not offer performer the clearest instructions to produce an exact re-creation of the composer's authoritative creation... an .nfo score is more like a treasure map than an inclusive set of rules." The virtual chorales of A 480 comprise compositions of actual recorded singers that have been unpersonally sourced, downloaded, then disembodied, disfigured, and displaced over forty times, then arranged into temporally affected four-part fugues. "The pre-composed voices are curationally divided into short loops of different lengths in MAX and played at different speeds across 4 different channels.
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Melchior Franck composed an expressive four-part setting. Michael Praetorius arranged the chorale for eight voices, one of the 1200 arrangements of Lutheran chorales in his Musae Sioniae. Johann Sebastian Bach used the complete chorale as the base for his chorale cantata , composed in Leipzig for the 21st Sunday after Trinity on 19 October 1724. Georg Friedrich Handel quoted the characteristic intervals from the beginning of the chorale's first tune several times at the end of the last aria of his oratorio Messiah, If God be for us, leading into the final chorus Worthy is the Lamb.
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Johann Sebastian Bach, 1746 The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier- Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ.
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When making async, "I just wanted to hear sounds of things, everyday things, even the sounds of instruments, musical instruments as things," Sakamoto said. Sakamoto cited the works of sound art sculptor Harry Bertoia as a major influence when making the LP. The instrumentation includes both regular orchestral instruments and unusual acoustic and programmed textures, more specifically bizarre interpretations of otherwise familiar instruments and the "musical aspect[s]" of everyday noise. async employs a variety of sound-producing techniques, such as field recordings, making mist textures out of chorales, and wailing sounds from glass.Weston, Hillary (June 1, 2017).
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Bach composed the cantata in 1724 in his second year as Thomaskantor in Leipzig for the 16th Sunday after Trinity. It is based on the hymn of the same name by Caspar Neumann, part of Bach's second cantata cycle, planned as a cycle of chorale cantatas. Daniel Vetter, organist at the Nikolaikirche in Leipzig, composed the hymn tune for Neumann's hymn, Zahn No. 6634, before 1695. Vetter's four-part setting of the hymn was commissioned for the funeral of the cantor Jakob Wilisius: it was published in 1713 as Part II of his book of chorales Kirch- und Haus-Ergötzlichkeit.
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Bach scored the work for three vocal soloists (soprano, tenor and bass), a four-part choir and a Baroque instrumental ensemble consisting of a horn (to reinforce the soprano), two oboes, taille, violino piccolo, strings and basso continuo including bassoon. Bach used the central movement of the cantata as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the cantata is an expression of Christian mysticism in art, while William G. Whittaker calls it "a cantata without weakness, without a dull bar, technically, emotionally and spiritually of the highest order".
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The fourth movement, "" (Zion hears the watchmen singing), is based on the second verse of the chorale. It is written in the style of a chorale prelude, with the phrases of the chorale, sung as a cantus firmus by the tenors (or by the tenor soloist), entering intermittently against a famously lyrical melody played in unison by the violins (without the violino piccolo) and the viola, accompanied by the basso continuo. Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five other transcriptions Bach made of his cantata movements as the Schübler Chorales.
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The first record of the existence and sale of groups of collected chorale harmonisations and chorale melodies with figured bass extracted from larger works by J.S. Bach is from 1764, fourteen years after Bach's death. In that year the firm Breitkopf und Sohn announced for sale manuscript copies of 150 chorale harmonisations and 240 chorale melodies with figured bass by J.S. Bach. In 1777 Johann Kirnberger started an active letter campaign to induce Breitkopf to publish a complete set of chorale harmonisations. Kirnberger's letters emphasize his motivation to have the chorales printed in order to preserve them for the benefit of future generations.
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The album and the band's music has received several comparisons to Queen. Rolling Stone's Jody Rosen, called the album a mix of "close harmony chorales, showy key changes, a dash of Queen here, a dollop of Les Miz there". In an interview with Fuse, producer Jeff Bhasker also stated that the album's lead single "We Are Young" "had a Queen/Freddie Mercury vibe to it". Marcus Glimer of The A.V. Club wrote that the album featured "more synthetic elements [keyboards and drum machines]" than their debut album Aim and Ignite, and compared the beat to "All Alone" to a hip-hop track.
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Fête Galante is a 1930 Danish-language comic opera by Poul Schierbeck to a libretto by Max Lobedanz.Jean-Luc Caron - Allan Petterson: destin, douleur et musique : la vie et l'œuvre - 2007 Page 300 2825136395 "SCHIERBECK, Poul (1888-1949). ... Comme compositions il laisse un opéra Fête galante (1923-1930), une Symphonie (1916-1921), un Andante doloroso pour cordes (1942), des cantates, des œuvres chorales, des mélodies, de la musique ..." It was performed seven times at the Royal Theatre, Copenhagen 1931-32 with the composer's wife Sylvia Larsen in the main soprano role, but then not revived until 1960.
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His compositional output would gradually prune away romantic elements in favour of an idiom that embodied folk music as intrinsic and essential to its style. Later in life he would have this to say on the incorporation of folk and art music: > The question is, what are the ways in which peasant music is taken over and > becomes transmuted into modern music? We may, for instance, take over a > peasant melody unchanged or only slightly varied, write an accompaniment to > it and possibly some opening and concluding phrases. This kind of work would > show a certain analogy with Bach's treatment of chorales.
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Title page of Bach's autograph score of the St Matthew Passion The St Matthew Passion (), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the greatest masterpieces of classical sacred music. The original Latin title ' translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew".
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Two distinctive aspects of Bach's setting spring from his other church endeavors. One is the double-choir format, which stems from his own double-choir motets and those of many other composers with which he routinely started Sunday services. The other is the extensive use of chorales, which appear in standard four-part settings, as interpolations in arias, and as a cantus firmus in large polyphonic movements. This is notable in "", the conclusion of the first half – a movement which Bach also used as an opening chorus for the second version (1725) of his St John Passion (later – ca.
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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.
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He published his arrangements, 26 German and 4 Hebrew hymns adapted to 17 church tunes, in a chant book in which the score of the Hebrew songs were printed from the right to the left. . In this year he founded a second school in Cassel which was the residence of the Westphalian King Jerome, Napoleon's brother. He adapted these prayers himself to tunes, taken from famous Protestant chorales. In the charge of a rabbi he read the whole service in German according to the ideas of the reformed Protestant rite, and he refused the "medieval" free rhythmic style of chazzan, as it was common use in the other Synagogues.
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He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity within the structure by using the horns not only in the opening but also as obbligato instruments in the two chorales, the first time even playing the same motifs. Bach performed the cantata again, probably in 1730. He later reworked the music of the opening chorus and a duet again in his Missa in G major, BWV 236, and the music of an alto aria in his Missa in A major, BWV 234.
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The music contains no quotations or parodies of Bach's music. Compared to Bach's Passion, reflection in arias and chorales is less extended. A reviewer compared the work's seriousness to late works by Hanns Eisler and to Hindemith's Mathis der Maler, and summarized "This is a respectful, even reverent, tribute from one composer to a great predecessor". The work was premiered, conducted by the composer, as part of the Berliner Festwochen at the Berlin Philharmonie in November 1985, by soloists Anne Sofie von Otter, Hans Peter Blochwitz, Roland Hermann, narrator , organist Gerd Zacher, the Limburger Domsingknaben, the NDR Chor and Südfunk-Chor Stuttgart, and the Radio Symphony Orchestra Stuttgart.
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The musical tradition of the Czech lands arose from first church hymns, whose first evidence is suggested at the break of 10th and 11th century. Some pieces of Czech music include two chorales, which in their time performed the function of anthems: "Lord, Have Mercy on Us" and the hymn "Saint Wenceslas" or "Saint Wenceslas Chorale".The chronicles of Beneš Krabice of Veitmil – the hymn "Svatý Václave" mentioned there as old and well-known in the end of the 13th century The authorship of the anthem "Lord, Have Mercy on Us" is ascribed by some historians to Saint Adalbert of Prague (sv.Vojtěch), bishop of Prague, living between 956 and 997.
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On November 26th, 2017, Ferraro digitally released Troll, a five-track EP. In February 2018, Ferraro officially premiered Plague, an opera with scenography by Nate Boyce, at the 2018 transmediale festival. The work starred German actor Christoph Schüchner as an "undead" Steve Jobs, "the surrogate of a deranged AI, a data mongrel all our networked activity", and also featured chorales by PHØNIX16. On May 18, 2018, Ferraro digitally released Four Pieces for Mirai, an EP working as the first part of and the prologue to the ongoing 'body of work' and project of the same name. Ferraro was featured and interviewed on the 416th cover of The Wire, October 2018.
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Johann Sebastian Bach's St Matthew Passion (), , is structured on multiple levels: the composition is structured in three levels of text sources (Gospel, libretto and chorales) and by the different forms that are used for musical expression (arias, recitatives and choruses). Bach's large choral composition was written to present the Passion, as told in the Gospel of Matthew, in a vespers service on Good Friday. It is composed in two parts, that were to be performed before and after the sermon of that service. Part I covers the events until the arrest of Jesus and Part II concludes with his burial and the sealing of his grave.
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Cantata 21 links two stanzas with a three-part fugue (Sei nun wieder zufrieden, meine Seele); the tenor and soprano sing the cantus firmus. BWV 434 setting of this chorale is one of Bach's most remarkable of SATB harmonizations. BWV 642 in the Orgelbüchlein is a chorale prelude for organ, with the hymn tune as its cantus firmus; whilst BWV 647 in the Schübler Chorales is an organ transcription of the fourth movement of the cantata BWV 93. In addition, two organ adaptations of the hymn are included in the Kirnberger Collection - BWV 690 (with a following figured basso-chorale) and BWV 691 (with an interesting variant and additional interludes).
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The tradition of the German oratorio Passion began in Hamburg in 1643 with Thomas Selle’s St John Passion and continued unbroken until the death of Carl Philipp Emanuel Bach in 1788. The oratorio Passion, made famous by Johann Sebastian Bach in his St John Passion and St Matthew Passion, is the style that is most familiar to the modern listener. It makes use of recitative to tell the Passion narrative and initially intersperses reflective chorales but later arias and choruses as well. This is in contrast to the Passion oratorio, a genre typified by the so-called Brockes-Passion text ' (set by Georg Philipp Telemann and George Frideric Handel, among others).
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The title Morimur (We shall die) stands for a juxtaposition of Bach's Partita for Violin No. 2, which is related to Easter according to scholar Helga Thoene, and interspersed chorales, some from his cantatas and Passions. The Partita's final Ciaconna is performed twice, once with the chorale which Bach may have had in mind, along with the violin music. The recording was described as > ... one of those increasingly rare things – a moving and intelligently > programmed disc that is effective from beginning to end. From 2006 Poppen has been the conductor of the Rundfunk-Sinfonieorchester Saarbrücken, which was, together with the Rundfunkorchester Kaiserslautern, named Deutsche Radio Philharmonie Saarbrücken Kaiserslautern in 2007.
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Pepping first wrote severe works with "uncompromising dissonance". In the 1930s he wrote more compromising music, including a in 1931, a setting not of the Order of Mass, but a series of chorales related to the functions in the liturgy of the service, comparable to Schubert's and in 1938 a German mass, (German Mass: Kyrie God Father in Eternity) for a six-part mixed choir. On October 30, 1943 his Symphony No.2 in F minor was performed to great acclaim by the Berlin Philharmonic orchestra, conducted by Wilhelm Furtwangler, in Berlin. Pepping composed no more church music until 1948, when he wrote the , possibly as a "personal plea".
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By the later 17th century they were increasingly replaced by concertatos supplemented with arias and chorales and after 1700 by the cantata, which not only highlighted biblical passages but interpreted them as well. The genre fell out of general fashion by the early 18th century but was still in demand for use in funerals, as evidenced by the composition of motets by Johann Sebastian Bach for such ceremonies. Bach wrote for the function of enhancing the prescribed gospel reading several cycles of cantatas for all occasions of the liturgical year. The manner in which Gospel motets were used within the Protestant German liturgy of the 17th century is unclear.
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Zahn 6462 is the variant Johann Sebastian Bach used in Part III of his Christmas Oratorio, with the 15th stanza of Gerhardt's hymn "Fröhlich soll mein Herze springen" ("Ich will dich mit Fleiß bewahren") as text.Work and lyrics of Christmas Oratorio (Part III) at Bach Digital website This version of the melody, a simplification of the Zahn 6461 melody, was first published in 1769 as No. 143 in the second volume of Bach's four-part chorales published by Birnstiel, and is thus attributed to Bach. "Warum sollt ich mich denn grämen", BWV 422, is another four-part chorale harmonisation by Bach of the same tune.
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However, Luther's approval of textual elaboration and musical complexities in chorales did not mean that he completely disregarded Protestant orthodoxies. While Luther supported the use of polyphony, he still made it clear that he regarded the main purpose of hymns as teaching the populace about Scripture and worshiping God. One reason for Luther's adoption of the normative principle and his application of it with his own church music was to more effectively disseminate his ideas, particularly to other German speaking areas. Luther's hymns were primarily written in the vernacular and consisted of universal themes such as hope, peace, and grace, which transcended socioeconomic boundaries.
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' (Laud to God in all his kingdoms), ', known as the Ascension Oratorio (), is an oratorio by Johann Sebastian Bach, marked by him as (Oratorio for the feast of the Ascension of Christ), probably composed in 1735 for the service for Ascension and first performed on 19 May 1735. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. He had composed an Easter Oratorio already in 1725. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had worked on the libretto for the Christmas Oratorio.
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Pepping was a composer who relied on Baroque models but first wrote severe works with "uncompromising dissonance". An able teacher with ties to the Confessing Church in the 1930s he wrote more compromising music and was "left alone" by the Nazis. He composed a in 1931, setting not the Order of Mass, but a series of chorales related to the functions in the liturgy of the mass, and thus comparable to Schubert's . In 1938, after a 1937 Church Music Festival in which he participated, he composed a German mass, (German Mass: Kyrie God Father in Eternity) for a six-part mixed choir, which stressed German, following the party line.
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His works, like those of his colleagues, were rediscovered in the second half of the 20th century.Kroeger, Grove. A 1978 work by American avant-garde composer John Cage, Some of the "Harmony of Maine", is a collection of organ pieces based on compositions from The Harmony of Maine. Cage also adapted a number of Belcher's chorales for use in his Apartment House 1776, and these were subsequently arranged for string quartet by Irvine Arditti along with Cage's adaptations of works by William Billings, Jacob French, Andrew Law, and James Lyon as 44 Harmonies, and performed by the Arditti Quartet and issued on CD by Mode Records.
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Even before the Machtergreifung, he had been openly disagreeing with National Socialist Ideology in the Deutsches Allgemeines Sonntagsblatt, and he was also known through his work in the Christlich-Sozialer Volksdienst, and he quickly became a target for the Nazis. What followed was surveillance by the Gestapo and state reprisals. The disagreement reached its apex on 18 April 1937 when several hundred Schüttorfers gathered before the town hall after Middendorff had been arrested and “sang him free”, standing there for hours singing chorales until he was released. His article Ein Weniges zur Judenfrage (“A Little About the Jewish Question”), which was seized and banned, had become well known.
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Ludwig van Beethoven was an influential German composer and pianist In the field of music, Germany claims some of the most renowned classical composers of the world, including Bach and Beethoven, who marked the transition between the Classical and Romantic eras in Western classical music. Also, Germans developed many Lutheran chorales and hymns. Other composers of the Austro-German tradition who achieved international fame include Wolfgang Amadeus Mozart, Brahms, Wagner, Haydn, Schubert, Händel, Schumann, Mendelssohn Bartholdy, Johann Strauss II, Bruckner, Mahler, Telemann, Richard Strauss, Schoenberg, Orff, and most recently, Henze, Lachenmann, and Stockhausen. Germany is the largest music market in Europe, and third largest in the world.
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In 1787 her first book, Nachricht von des berüchtigten Cagliostro Aufenthalt in Mitau im Jahre 1779 und dessen magischen Operationen, a memoir-exposé of the months when she studied magic with "Count" Alessandro di Cagliostro, made a great impact right across Europe, with Catherine the Great even granting Elisa lands in Russia in recognition of the work (making Elisa financially independent). She got to know Goethe, Schiller, Wieland, Herder and other European literary figures, and intensified their relationships through prolific correspondence. From 1798 she lived almost exclusively in Dresden, and from 1804 cohabited there with her friend Christoph August Tiedge. Their meetings were religio-sentimentalist in tone, with the singing of chorales by Johann Gottlieb Naumann.
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Homilius predominantly composed church music: more than 10 passions (one printed in 1775; his St. Matthew Passion, particularly outstanding in the preclassical style of C.P.E. Bach and an extremely worthy successor of J.S. Bach's best-known work of the same name, has been recorded on CD), an oratorio for Christmas (1777) and one for Easter, over 60 motets, more than 150 cantatas (six arias from these appeared in 1786), chorales, preludes, and choral works. He composed also organ music: 36 Chorale preludes for organ. His students included eminent composer Daniel Gottlob Türk. His vocal compositions enjoyed great popularity through the 19th century, as witnessed by the large number of copies still extant.
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Much of Pachelbel's liturgical organ music, particularly the chorale preludes, is relatively simple and written for manuals only: no pedal is required. This is partly due to Lutheran religious practice where congregants sang the chorales. Household instruments like virginals or clavichords accompanied the singing, so Pachelbel and many of his contemporaries made music playable using these instruments. The quality of the organs Pachelbel used also played a role: south German instruments were not, as a rule, as complex and as versatile as the north German ones, and Pachelbel's organs must have only had around 15 to 25 stops on two manuals (compare to Buxtehude's Marienkirche instrument with 52 stops, 15 of them in the pedal).
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For several decades he taught vocal polyphony and counterpoint at the Oslo Conservatory of Music and at the teachers' college and school for the blind in Oslo. His compositions include religious cantatas and choral music, as well as organ music such as preludes, fugues, organ chorales, and similar. A stay in Denmark put him in touch with Thomas Laub, and Steenberg prepared an unauthorized hymnal that was published in 1947 as an innovative alternative to the official hymnal of 1926; it was based on Ludvig Mathias Lindeman's hymnal and was edited by music authorities including Eyvind Alnæs, Ole Mørk Sandvik, and Arild Sandvold. Steenberg's hymnal was adopted by enthusiasts such as Ingar Nilsen and Asbjørn Hernes.
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I. Rivers & D. L. Wykes (Oxford University Press, 2011); E. Wyn James, 'Popular Poetry, Methodism, and the Ascendancy of the Hymn', in The Cambridge History of Welsh Literature, ed. Geraint Evans & Helen Fulton (Cambridge University Press, 2019); E. Wyn James, ‘German Chorales and American Songs and Solos: Contrasting Chapters in Welsh Congregational Hymn-Singing’, The Bulletin of the Hymn Society of Great Britain and Ireland, No. 295, Vol. 22:2 (Spring 2018), 43–53. Along with the more classical sacred music of composers ranging from Mozart to Monteverdi, the Catholic Church continued to produce many popular hymns such as Lead, Kindly Light, Silent Night, O Sacrament Divine and Faith of our Fathers.
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Johann Sebastian Bach used several stanzas of the hymn as reflecting chorales in his St John Passion (1724) and St Matthew Passion (1727). In the earlier work, Bach inserted two stanzas, 3 and 4 in the same harmonization, as movement 11 (in the Neue Bach- Ausgabe), after Jesus asks the one who beat him for justification. Stanza 3 asks, "" (Who hath thee now so stricken), and stanza 4 answers, "" (I, I and my transgressions), highlighting the personal responsibility of the speaking sinner for the suffering of Jesus. In the St Matthew Passion, two stanzas appear in different harmonization in different situations of the drama, as movements 10 and 37 (in the NBA).
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In the central duet violins and violas play the melody of the chorale. Bach later arranged this movement for organ as one of the Schübler Chorales, BWV 647. The opening chorus is a concerto of three elements: the orchestra, dominated by the two oboes, playing an introduction and ritornellos, the cantus firmus in the soprano, and the other voices which start each of the three sections and keep singing on the long final notes of the cantus firmus, soprano and alto opening the first section, tenor and bass the second, all four voices the last section. Movements 2 and 5 are composed in the same fashion, alternating the slightly ornamented lines of the chorale with recitative.
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First is what is most likely the best known aspect of Moravian music: the trombone choirs. Moravians have used brass ensembles and bands since their earliest years in Herrnhut to announce special events and to accompany singing at outdoor services and funerals. The Easter Band for the sunrise service in Salem numbers some 500 band members representing the 12 congregations of the Salem Congregation (the Moravian churches in Winston-Salem, NC) as well as players from across the country. Moravian chorales used by the trombone choirs and church bands tend to be fairly stately and to have active parts for all four voices, which reflects the singing of a congregation – also singing in parts.
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He also composed "Un peu de moi" song performed by Anthony Kavanagh all along his tour. From 2001 to 2009, he composed, wrote, arranged and directed songs for Jenifer, Cécilia Cara, Julie Pietri, Grégori Baquet, Michael Youn, Anthony Kavanagh, Michel Legrand, Amaury Vassili, Clara Morgane, and the famous French musicals Le Roi Soleil and Les Demoiselles de Rochefort. In 2006, he was the musical Director of the new Parisian Revue at the Cabaret Bobino. This review has been played for 2 years and most songs were composed by him. In 2009, he was the musical Director of La Bataille des chorales, in which 5 choirs competed, 1st evening TV show on TF1 then.
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Bach scholars now assume that J. S. Bach composed the first movement, possibly during his Weimar period around 1712. The chorale is a transcription of one of his organ pieces and was possibly added in the 19th century. John Eliot Gardiner, who recorded Bach motets including this one in 2011, comments on the authorship: The closing chorale was not part of the score but appeared first in the first print of the motet in 1802 by Johann Gottfried Schicht, also a Thomaskantor. He found the setting in Bach's chorales collected by Carl Philip Emanuel Bach and Johann Philipp Kirnberger in 1787, transposed it from A minor to F minor and adjusted the time to the motet.
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From 1885 to 1894 he made himself responsible for the music of the village church. He had become deeply dissatisfied with the state of English hymnody in the late Victorian period: The hymnal's primary intended use would have been for unaccompanied singing at the choir stall or lectern, and its design, perhaps deliberately, hindered its use at the organ console, or even by the congregation. The music is the primary ground of selection. Thirteen tunes are plainsong, sixteen psalm tunes from Geneva, seven tunes by Tallis, eight by Gibbons, eight other psalm tunes from the sixteenth century, and ten from the seventeenth, eleven German chorales, nine tunes by Clarke, and four by Croft.
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The loss of musical material from Bach's death to the first printings of chorale collections may have been substantial. Not only are many works the chorales were extracted from no longer extant but there is no way of knowing how much of all the harmonisations that were once compiled the current collections include. For example, there is no way of knowing how many of the 150 harmonisations first proposed for sale in 1764 also appear in Princess Anna Amalia's manuscript which ultimately forms the basis of the Breitkopf edition. As to the chorale melodies with figured bass, current collections include less than one hundred of them whereas those proposed for sale in 1764 numbered 240.
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"Breathing" is a song recorded by American recording artist Jason Derulo for his second studio album, Future History (2011). It was written by Derulo, Jacob Luttrell, Lauren Christy, Julian Bunetta, Krassimir Tsvetanov Kurkchiyski, Shope Trad and Folksong Thrace, while production of the song was helmed by DJ Frank E. "Breathing" was initially released as one of four promotional singles for the album in September 2011. It was later released to contemporary hit radio in Australia on October 24, 2011, and elsewhere from January 31, 2012, as the third single from Future History. Musically, "Breathing" is a Eurodance song that displays influences of electro and house, and features "tribal vocal chorales" in the background.
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The song features "tribal vocal chorales" in the background, and samples the song "Pilentze Pee", which is sung by the Bulgarian State Television Female Vocal Choir. The song contains lyrical content about winning back a past love. "Breathing" opens with a "slow build-up of synths and a quick club beat" before Derulo sings: "I only miss you when I'm breathing / I only miss you when my heart is beating / You are the color that I'm bleeding / I only miss you when I'm breathing." Scott Shetler of PopCrush noted that he appears to be screaming the vocals during the chorus line: "I only miss you when I'm breathing", writing that "his final note [is] stretched out for several seconds".
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Denver Performing Arts Complex front view Denver Performing Arts Complex Denver Performing Arts Complex back view The Denver Performing Arts Complex (sometimes referred to locally as "The Plex," "The DCPA " or simply, "Arts Complex") located in Denver, Colorado, is one of the largest performing arts centers in the United States. The DCPA is a four-block, site containing ten performance spaces with over 10,000 seats connected by an tall glass roof. It is home to a theatre company, Broadway touring productions, contemporary dance and ballet, chorales, a symphony orchestra, opera and more. The City and County of Denver’s Arts & Venues owns and operates the three largest theatres in DPAC, the Ellie Caulkins Opera House, the Buell Theatre and Boettcher Concert Hall.
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Some of Arnold von Bruck's chorales appeared in a highly cosmopolitan collection by Georg Rhau, the Newe deudsche geistliche Gesenge of 1544. Unusually for the time, it contained music both by the early generation of Protestants, including Balthasar Resinarius and Sixtus Dietrich, and Roman Catholics such as Bruck. Bruck's contributions are for four voices, and include works in both Latin and German; some of the chorale settings are of tunes which were widely used for generations afterwards, such as Christ lag in Todesbanden, famously also set by J.S. Bach in his cantata Christ lag in Todes Banden, BWV 4.Marshall/Leaver, Grove online Bruck's reputation was such that he received numerous dedications and awards, including medallions, sculptures, book dedications, and music.
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Payne's discography contains nearly 100 items, most being recordings of early keyboard music. This includes the complete organ works of Johann Pachelbel, the complete keyboard works of John Blow, recordings of music by numerous neglected composers including John Bull, Gottlieb Muffat and Johan Helmich Roman. In addition to the Fitzwilliam Virginal Book he also recorded extensive selections from other important early music manuscripts, such as the Buxheimer Orgelbuch, the Andreas Bach Buch, the Dublin Virginal Manuscript, and the chorales in the Neumeister Collection, of which he made the world-premiere recording, J.S. Bach Choral Preludes (Harmonia Mundi} recorded and released prior to the recording by Werner Jacob). Record labels with which Payne worked included Bis, Naxos, Harmonia Mundi, Hänssler Classics and others.
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Rossini Pesaro He won also other prizes, including the Medaglia Campiani in Mantua. In 2000 he founded an early music ensemble Cappella Augustana with which he is recording the complete works by Heinrich Schütz for the Dutch label Brilliant Classics. Messori's extensive discography includes also several works by Johann Sebastian Bach: the third part of Clavierübung, the Schübler Chorales, 8 Preludes and Fugues, the Canonical Variations, Die Kunst der Fuge and Ein musikalisches Opfer (with his ensemble Cappella Augustana). He also recorded the first tribute to the sacred music composed by Vincenzo Albrici, who was Kapellmeister in Dresden and organist at the Thomaskirche in Leipzig, Besides his work with the ensemble Cappella Augustana, he is in frequent demand as organist, harpsichordist and guest conductor.
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As a harmonic device, the Picardy third originated in Western music in the Renaissance era. By the early seventeenth century, its use had become established in practice in music that was both sacred (as in the Schütz example above) and secular: William Byrd, Pavane "The Earl of Salisbury", 1612 William Byrd, Pavane "The Earl of Salisbury", 1612 02 Examples of the Picardy third can be found throughout the works of J. S. Bach and his contemporaries, as well as earlier composers such as Thoinot Arbeau and John Blow. Many of Bach's minor key chorales end with a cadence featuring a final chord in the major: J. S. Bach, Jesu meine Freude, BWV 81.7, mm. 12–13 Jesu, meine Freude (Jesus, My Joy), BWV 81.7, mm. 12–13.
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Jacques Chailley has published many outstanding works, both on Greek and medieval music, on the Passions, the chorales for organ and The Art of Fugue by J. S. Bach, the Carnaval by Schumann, Tristan by Wagner. Worth noting is his interest in the exegesis of the Masonic aspects of The Magic Flute by Mozart, the Winterreise by Schubert and Parsifal by Wagner. He was also the author of several books on harmony and its history, the question of modality, as well as an important history of multi-volume music and popular works. He also studied musicians of the Middle Ages such as Adam de la Halle, Guillaume de Machaut of whom he prepared the first published transcript of the Messe de Nostre Dame or Gautier de Coincy.
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3–4 This remains the case even if, as some have suggested, one of the chorales that appears under his name would have been composed by Johann Heinrich Buttstett.Stinson 1993, p. 456 Wolff has proposed that the five unattributed works in the volume could also be by Johann Michael Bach—confidently in three cases, less so in the other two. Generally attributed to J. M. Bach: # Nun komm der Heiden Heiland, # Meine Seele erhebt dem Herrn, # Herr Christ der einig Gottes Sohn, # Nun freut euch lieben Christen gemein (1), , however also attributed to J. Pachelbel # Nun freut euch lieben Christen gemein (2), # Gott hat das Evangelium (1), # Gott hat das Evangelium (2), # Gelobet seist du Jesu Christ, , BWV 723, previously attributed to J. S. Bach.
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1 & 2, while some early compositions pre-dating his acquaintance with Brahms have features in common with the older composer. Towards the end of his life he concentrated on providing music for communal worship in the Lutheran Evangelical Church in Strasbourg, under the influence of Friedrich Spitta, brother of Philipp Spitta, who was professor of theology there, though Herzogenberg himself remained Roman Catholic. His models in these pieces were the Bach oratorios and passions, with chorales designed to be sung by the congregation and played by only a small instrumental ensemble. He also wrote a large-scale Mass in memory of Philipp Spitta, for which Friedrich Spitta selected the text. Several of Herzogenberg’s major works were thought to have been destroyed during World War II but resurfaced during the 1990s.
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They have also performed works by William Duckworth, Arnold Schoenberg, Elliott Carter, Charles Ives, Earle Brown, Edwin London, Blas Galindo, Jorge Córdoba, Harold Blumenfeld, Irving Fine, Morton Gould, William Schuman, Louise Talma, Arthur Sullivan, and Ned Rorem, as well as early music by composers such as Giovanni Gabrieli and Heinrich Schütz. They have also made a well received yuletide album entitled "Christmas Songs from around the World" whose arrangements have also been performed by other choruses, chorales, and choirs as well. The Gregg Smith Singers have toured the United States 40 times, in addition to 16 tours of Europe, and three visits to Asia. It has recorded over 100 albums, on the Albany, Columbia, Cp2, CRI, Koch International Classics, Lovely Music, New World, Newport Classic, Sony, Crown, Everest and Vox labels.
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A voracious reader of almost any book on music theory, especially from the common practice period (circa 1600–1900) he distilled complex concepts regarding the structure of western music and would write out more accessible versions for students to understand (handed out to students in the form of lesson "sheets"), often applying keyboard concepts to the guitar. For example, many transcriptions of the chorales of J. S. Bach would be re- written for guitar with useful analysis applicable to any musical setting He would also make occasional live appearances at clubs in the San Fernando Valley, usually playing a Fender Telecaster. Greene typically worked as a vocal accompanist, which he preferred because he found group settings restrictive. While he was a sought-after session musician, he derived much of his income from tutoring.
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The chorale in the finale of the piano trio has occasionally and erroneously been identified as "Vor deinen Thron", which pictures humans before the Throne of God, a dark and serious chorale as opposed to the triumphal Old Hundredth. Bach wrote a chorale prelude Vor deinen Thron on his deathbed (BWV 668). It was published as an addendum to the unfinished Art of the Fugue, and in the collection known as the Leipzig Chorales. The opening theme of the finale was adopted by Brahms for the Scherzo of his Piano Sonata No. 3, Op. 5, and Brahms also used the opening of the first movement of this trio as the basis for the piano line in the finale of his Piano Quartet No. 3 in C minor, Op. 60.
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"Herzliebster Jesu" (often translated into English as "Ah, Holy Jesus", sometimes as "O Dearest Jesus") is a Lutheran Passion hymn in German, written in 1630 by Johann Heermann, in 15 stanzas of 4 lines, first published in Devoti Musica Cordis in Breslau. As the original headline reveals, it is based on Augustine of Hippo; this means the seventh chapter of the so-called "Meditationes Divi Augustini", presently ascribed to John of Fécamp.The Hymnal 1982 Companion Its tune, Zahn No. 983, was written ten years later by Johann Crüger and first appeared in Crüger's Neues vollkömmliches Gesangbuch Augsburgischer Confession. The tune has been arranged many times, including settings by J.S. Bach: one of the Neumeister Chorales for organ, BWV 1093, two movements of the St John Passion, and three of the St Matthew Passion.
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The custom in such cases was to use part of the first line of the first text with which the tune was associated as a name for the tune: for example Lasst Uns Erfreuen ("Let us rejoice" / All Creatures of Our God and King), Gelobt Sei Gott ("[May] God be praised" / Good Christian men, rejoice and sing) and Was lebet, was schwebet (O Worship the Lord in the Beauty of Holiness). Renaming of tunes occurs from time to time, when a tune is chosen to be printed in a hymnal. When chorales were introduced in England during the eighteenth century, these tunes were sometimes given English-style tune names. The Ravenscroft Psalter of 1621 was the first English book which specified, by name, which tune should set each text.
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Influenced by the time of its recording (and perhaps by Jakszyk's more direct approach as a performer), the music of The Lodge was much more compact and straightforward than that of Henry Cow or Kew. Rhone., with a stronger emphasis on rock guitar riffs. Some pieces, such as “The Little Match Girl” were effectively straight-ahead rock songs (albeit with typically Blegvad-ian lyrical twists and word-games). Others, such as “Not All Fathers” and “Old Man’s Mood”, showed elements of tone poetry mixed in with African and art rock rhythms, piano balladry, chants and chamber chorales. The Lisa Herman showcase, “Swelling Valley”, was a romantic piano-and-solo-voice performance which had more in common with an Aaron Copland American landscape piece than with the muscular art rock songs elsewhere on the record.
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The manuscript to be used once belonged to C. P. E. Bach, who sold it through Kirnberger to Princess Anna Amalia of Prussia (for twelve louis d'or). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonisations had been taken. The manuscript's harmonisations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats.
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350px "Wer nur den lieben Gott lässt walten", Op. 67, No. 45, an example of a harmonized chorale prelude The 52 pieces are based on the following chorales which are mostly arranged alphabetically. The chorale preludes fall into five types: harmonized chorale (H); figural chorale prelude (F) with a motivic accompaniment often derived from the melody of the chorale; canonic chorale prelude (C) with the chorale in canon between two voices; ornamental chorale prelude (O) with a highly elaborate version of the chorale in the highest voice; and hybrid chorale prelude (Hy), a combination of the above. The list also specifies the number of voices in the piece and indicates which voices (SATB and P for pedal) share the cantus firmus (c.f.). # : F, 4, c.f. in P # Alles ist an Gottes Segen: F, 4, c.f.
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Other performing artists such as Catholic nun Sister Janet Mead, Aboriginal crooner Jimmy Little and Australian Idol contestant Guy Sebastian have held Christianity as central to their public persona. Church music also ranges widely across genres, from Melbourne's St Paul's Cathedral Choir who sing choral evensong most weeknights; to the Contemporary music that is a feature of the evangelical Hillsong congregation.June Nixon AM, Director of Music – Music – St Paul's Cathedral, Melbourne The Ntaria Choir at Hermannsburg, Northern Territory, has a unique musical language which mixes the traditional vocals of the Ntaria Aboriginal women with Lutheran chorales (tunes that were the basis of much of Bach's music). Baba Waiyar, a popular traditional Torres Strait Islander hymn shows the influence of gospel music mixed with traditionally strong Torres Strait Islander vocals and country music.
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Some of the early biographies of Johann Sebastian Bach contain lists of his compositions. For instance, his obituary contains a list of the instrumental compositions printed during the composer's lifetime, followed by an approximate list of his unpublished work. The first separately published biography of the composer, by Johann Nikolaus Forkel, follows the same approach: its ninth chapter first lists printed works (adding four-part chorales which had been published in the second half of the 18th century), followed by a rough overview of the unpublished ones. In the first half of the 19th century more works were published, so the next biographies (Schauer and Hilgenfeldt in 1850) had more elaborate appendices listing printed works, referring to these works by publisher, and the number or page number given to the works in these publications.
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Examples of this may still be found in various places, including in some of the Presbyterian churches of western Scotland. The other Reformation approach, the normative principle of worship, produced a burst of hymn writing and congregational singing. Martin Luther is notable not only as a reformer, but as the author of many hymns including "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), which is sung today even by Catholics, and "Gelobet seist du, Jesu Christ" ("Praise be to You, Jesus Christ") for Christmas. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The first Protestant hymnal was published in Bohemia in 1532 by the Unitas Fratrum. Count Zinzendorf, the Lutheran leader of the Moravian Church in the 18th century wrote some 2,000 hymns.
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Barthold Heinrich Brockes was an influential German poet who re-worked the traditional form of a Passion oratorio, adding reflective and descriptive poetry, sometimes of a highly-wrought and emotional kind, into the texture of his Passion. The Brockes Passion was much admired and set to music numerous times in Baroque Germany, although to other ages and in other countries some of Brockes' poetry has seemed in poor taste. In Brockes' version of a passion, a tenor Evangelist narrates, in recitative passages, events from all four Gospels' accounts of Jesus' suffering and death. Persons of the Gospel story (Jesus, Peter, Pilate, etc.) have dialogue passages, also in recitative; a chorus sings passages depicting the declamation of crowds; and poetic texts, sometimes in the form of arias, sometimes that of chorales (hymn-like short choral pieces), reflect on the events.
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He was born in Padingbüttel and worked as organist and composer at Stade's St. Cosmae et Damiani (1675–1702) and Hamburg's famous St. Nikolai (1702–1740), where he played one of the largest contemporary organs. He enjoyed a remarkably high reputation in his lifetime, and had numerous pupils, among which were two of his sons. Despite Lübeck's longevity and fame, very few compositions by him survive: a handful of organ praeludia and chorales in the North German style, a few cantatas and several pieces for harpsichord, some of which were published during the composer's lifetime. Of his works, the organ pieces are the most important: influenced by Dieterich Buxtehude and Johann Adam Reincken, Lübeck composed technically and artistically sophisticated works, with frequent virtuosic passages for pedal, five-voice polyphony, and other devices rarely used by most of the composers of the period.
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Most parts of Europe had active and well-differentiated musical traditions by late in the century. In England, composers such as Thomas Tallis and William Byrd wrote sacred music in a style similar to that written on the continent, while an active group of home-grown madrigalists adapted the Italian form for English tastes: famous composers included Thomas Morley, John Wilbye and Thomas Weelkes. Spain developed instrumental and vocal styles of its own, with Tomás Luis de Victoria writing refined music similar to that of Palestrina, and numerous other composers writing for the new guitar. Germany cultivated polyphonic forms built on the Protestant chorales, which replaced the Roman Catholic Gregorian Chant as a basis for sacred music, and imported the style of the Venetian school (the appearance of which defined the start of the Baroque era there).
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Starting piano lessons at an early age, Hudson also played organ at his church and his uncle's funeral parlour, and performed country songs on the accordionPp67-68, Chapter two "Who Do You Love: Ronnie Hawkins & The Hawks" in Jason Schneider's book "Whispering Pines: The Northern Roots of American Music... From Hank Snow to The Band" ECW Press Toronto 2009 First Edition hardcover Classically trained in piano, music theory, harmony and counterpoint, Hudson wrote his first song at the age of eleven and first played professionally with dance bands in 1949, at the age of twelve. He attended Broughdale Public School and Medway High School before studying music (primarily Bach's chorales and The Well-Tempered Clavier) at the University of Western Ontario. During this period, he grew increasingly frustrated with the rigidity of the classical repertoire, leading him to drop out after a year.
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After a clipped soprano recitative, the chorus and orchestra unite in the final chorale, ending the cantata. Christoph Wolff notes that "the texturally transparent and rhythmically vibrant setting" of the closing chorale is informed by the treatment of the opening chorus. More generally Emil Platen and Wolff have observed that when Bach adapted or borrowed chorales from more recent composers such as Vopelius or Vetter, he composed in a more fashionable and melodic style. In 1998 the authenticity of the closing chorale of BWV 8 was placed in doubt, when it was summarily listed as "spurious" in the second small edition of the Bach-Werke-Verzeichnis, prepared by the Göttingen musicologists Alfred Dürr and Yoshitake Kobayashi: prior to that, in 1991 and 1996, the musicologist Frieder Rempp had published critical commentaries on the closing chorale for the Neue Bach-Ausgabe.
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John Eliot Gardiner assumes that Bach imposed this restriction on himself, as he had done with the restriction to place the cantus firmus in soprano, alto, tenor and bass in the first four cantatas of the cycle. Gardiner comments on the "seventeenth-century design" of composing the unchanged chorale text, compared to settings of Stölzel, Telemann and Graupner: The chorales in Heermann's 1630 publication (Music of a devoted heart), which also included "", the first chorale in Bach's St Matthew Passion, have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, … distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility". Bach first performed the cantata, the seventh extant cantata of his second annual cycle, on 23 July 1724.
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Bach wrote the cantata in his first year as Thomaskantor in Leipzig, as part of his first cantata cycle, for the Third Day of Christmas. The prescribed readings for the day are from the Epistle to the Hebrews, Christ is higher than the angels, () and the prologue of the Gospel of John, also called Hymn to the Word (). The unknown poet referred only in a general way to the readings and stressed the aspect that being loved by God in the way which Christmas shows, the believer does not have to be concerned about the "world" any more. Three chorales are included in the text, rarely found in Bach's cantatas, but also in , Bach's first cantata composed for Christmas in Leipzig and performed the day before, and in , written for 2 January 1724, only a few days later.
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Bach Digital Source 00000626 at The text authors of the pasticcio and its components are largely unknown, apart from those of the Lutheran hymn texts, for instance Paul Gerhardt's "O Haupt voll Blut und Wunden" (movement 18), and Michael Weiße's "Christus, der uns selig macht" (movements 2, 24, 27, 30, 38, 40 and 42). For the free verse no librettist is known. There is no direct quote from the Gospel's Passion texts: the Passion's story isn't told by an Evangelist role in recitatives, nor in direct speech by any of its characters such as a vox Christi or turba choruses, but exclusively hinted at by the reflective texts of the free verse and the chorales. Closest to a Passion narrative in this sense are the interspersed stanzas of "Christus, der uns selig macht", which recall successive scenes of Christ's Passion.
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The formation of the modern wind section in the late Classical, particularly the dominance of smaller clarinets instead of basset horn, created a preponderance of high-pitched woodwind instruments in the section, with lower auxiliaries such as bass clarinet not yet included. Therefore, scoring for the wind section meant that the bassoons would often serve as both bass and tenor, as in the chorales of Beethoven symphonies. Thus, over the Classical period and into the Romantic, although bassoon retained its function as bass, it also came to be used as a lyrical tenor as well, particularly in solos (somewhat parallel to the treatment of the cello in the strings). The introduction of contrabassoon around this time, along with lower horn writing and expanded lower brass, also alleviated the bassoons (particularly the principal) of the need to serve as a bass.
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Rehearsals may also include physical warm-up (calisthenics, running, etc.), music warm-up (generally consisting of breathing exercises, scales, technical exercises, chorales, and tuning), basics (simple marching in a block to practice proper technique), and sectionals (in which either staff or band members designated section leaders rehearse individual sections). When learning positions for drill, an American football field may be divided into a 5-yard grid, with the yard lines serving as one set of guides. The locations where the perpendicular grid lines cross the yard lines sometimes called zero points or gacks, may be marked on a practice field at eight-, four-, or two- step intervals. Alternately, band members may only use field markings—yard lines, the centerline, hash marks, and yard numbers—as guides (but note that different leagues put these markings in different places).
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One of the last middle Baroque composers, Pachelbel did not have any considerable influence on most of the famous late Baroque composers, such as George Frideric Handel, Domenico Scarlatti or Georg Philipp Telemann. However, he did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older brother Johann Christoph Bach, who studied with Pachelbel, but although J.S. Bach's early chorales and chorale variations borrow from Pachelbel's music, the style of northern German composers, such as Georg Böhm, Dieterich Buxtehude, and Johann Adam Reincken, played a more important role in the development of Bach's talent. Pachelbel was the last great composer of the Nuremberg tradition and the last important southern German composer. Pachelbel's influence was mostly limited to his pupils, most notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and two of Pachelbel's sons, Wilhelm Hieronymus and Charles Theodore.
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It had eight parts involving various members of the university and community: # Processional—Chorales, Symphonic Band, and Alfred D Lekvold, Conductor # Invocation—Dr. Hardigg Sexton, Director Designate # Music: Wake, Wake the Night is Flying—The A Cappella Singers, George F. Barron, Director # Address—“The Conviction of Things Not Seen” Dr. Julian Price Love, Professor and Chairman # The Final Gift—William N. Liggett, President of Miami Alumni Association # Dedication of the Chapel ##Presentation of the Building—Charles F. Cellarius, Architect & John B. Whitlock, Chairman of Building and Grounds Committee ##Acceptance of the Building—Hugh C. Nichols, Chairman on Board of Trustees & John D. Millett, President # Hymn to Miami University—Colonel John R. Simpson, Alum # Benediction—Dr. Arthur C Wickenden, Professor of Religion On Sunday, October 25, 1959, another dedication ceremony occurred. Miami University's chapter of Delta Zeta donated church bells to Sesquicentennial Chapel and had a chime dedication ceremony.
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It aired from 6pm to 8pm, playing motets and chorales from Strauss II, Rimsky- Korsakov, Filipino musical (My Nipa Hut), and Bach, at a frequency of 1030 kilocycles. Initially, the broadcast comprised sequenced music; programming provided by the network’s English Service was brought in to augment the material. DZFE debuted its first full day of broadcast on April 4, 1961, signing on at 5AM and signing off at 11PM. John Hubbard became the station's new director in 1963. He had previously led the music faculty of Westmont College in California, and gave DZFE’s programming the educational impetus and Gospel-centered worldview it possesses to the present day. In 1965, DZFE’s staff acquired its second member with the addition of Joy Dulaca, nee Abiera, a music graduate of Silliman University in Dumaguete, who took over the leadership of the station in 1975 when Hubbard returned to the United States.
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Although he used twelve-tone technique, he avoided orthodoxy by occasionally using triads and octaves; he also liked to use the row melodically, giving the successive pitches in the same tone color (many other composers of 12-tone music split the row between different voices). In the third style period Kokkonen wrote the music that made him internationally famous: the last two symphonies, the ...durch einen Spiegel for twelve solo strings, the Requiem, and the opera The Last Temptations (1975) (Viimeiset kiusaukset), based on the life and death of the Finnish Revivalist preacher Paavo Ruotsalainen. The opera is punctuated with chorales which refer back to Johann Sebastian Bach, and which are also reminiscent of the African-American spirituals used for a similar purpose in Michael Tippett's oratorio A Child of Our Time. The opera was staged at the Metropolitan Opera in New York in 1983.
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Engraved portrait of Brockes (1744) by Christian Fritsch (1704–1760) Barthold Heinrich Brockes was an influential German poet who re-worked the traditional form of a Passion oratorio, adding reflective and descriptive poetry, sometimes of a highly-wrought and emotional kind, into the texture of his Passion. The Brockes Passion was much admired and set to music numerous times in Baroque Germany, although to other ages and in other countries some of Brockes' poetry has seemed in poor taste. In Brockes' version of a passion, a tenor Evangelist narrates, in recitative passages, events from all four Gospels' accounts of Jesus' suffering and death. Persons of the Gospel story (Jesus, Peter, Pilate, and so on) have dialogue passages, also in recitative; a chorus sings passages depicting the declamation of crowds; and poetic texts, sometimes in the form of arias, sometimes that of chorales, reflect on the events.
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In an article in the magazine Musical World of 1838, the English organist Henry John Gauntlett noted: > His execution of Bach's music is transcendently great [...] His extempore > playing is very diversified – the soft movements full of tenderness and > expression, exquisitely beautiful and impassioned [...] In his loud preludes > there are an endless variety of new ideas [....] and the pedal passages so > novel and independent [...] as to take his auditor quite by surprise.Cited > in Brown (2003), 214–215 These qualities are evident in the organ sonatas, which were commissioned as a "set of voluntaries" by the English publishers Coventry and Hollier in 1844 (who also commissioned at the same time an edition by him of the organ chorales of J. S. Bach),Todd (2003), 478 and were published in 1845. Correspondence between Mendelssohn and Coventry relating to the Sonatas took place between August 1844 and May 1845. Mendelssohn suggested that Gauntlett undertake the proof reading, but this was in fact probably carried out by Vincent Novello.
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The later the choice, the softer the dynamics.Score and instructions reproduced in Pace 1997, 9. Skempton later called such pieces "landscapes" that "simply project the material as sound, without momentum."Parsons 1987, 21. Other early works include two pieces for tape, a medium Skempton rarely used later: Indian Summer (1969) and Drum No. 3 (1971). The early 1970s saw a slow shift from static, abstract pieces to pieces with more clearly defined rhythmic and harmonic structures, although the methods and forms Skempton used remained unorthodox. For instance, in the series of Quavers piano pieces (1973–75) the music consists solely of repeated chords with no pauses between them. In addition to "landscapes" two other categories appeared, dubbed "melodies" and "chorales" by the composer. The "melodies" are single melodic lines either with simple accompaniment (Saltaire Melody, for piano (1977)) or suspended in space (later works such as Trace for piano (1980) and Bagatelle for flute (1985)).
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The songs include the works of concentration camp prisoners and inhabitants of the ghettos of Eastern Europe as well anti-Fascist anthems inspired by the Spanish Civil War, Red Army songs, and songs of Resistance fighters; New York Sings – 400 Years of the Empire State in Song (reviewed by his friend and colleague Pete Seeger). Seeger and Silverman were both editors at Sing Out! A Folk Music Magazine in the 1960s.; The Baseball Songbook – Songs and Images from the Early Years of America’s Favorite Pastime; The Folk Song Encyclopedia (a two volume compilation of over 1,000 folk songs; words, music and guitar chords); The Complete Book of Bach Chorales (translated into English); Ballads and Songs of the Civil War (piano-vocal with guitar chords); The Guitar Player's Guide and Almanac (a combined method book and survey of musical, technical and anecdotal information); Of Thee I Sing (patriotic American songs from the Revolutionary War to the present).
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In addition to his professional life as a musician, he took a clerk's position in Krigskollegium (the War Office), where in 1805 he reached the position of krigsråd ("War Councillor"). He retired from his position in Krigskollegium in 1824, but stayed as organist in Jakob until his death eleven years later.Lindberg (1922), column 945 His own compositions include a large number of songs, among them many poems by Anna Maria Lenngren, who was his sister-in- law, that he had set to music. These were published in several parts of Skalde-stycken satte i musik (1794–1823). He also composed a number of chorales, a cantata, fourteen sonatas, and an opera, Frigga (1787).Lindberg (1922), column 945; LIBRIS entry for Skalde-stycken satte i musik In 1788, Åhlström established Musikaliska Tryckeriet, the first larger-scale musical printing press in Sweden, and received a 20-year exclusive royal privilege for the engraving and printing of sheet music; anyone encroaching on his monopoly was to be fined 100 riksdaler.
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He is the composer of For My People, a song cycle featuring the poetry of American author Margaret Walker. His compositions, Facing It (based on the poetry of Yusef Komunyakaa) and Dear John, Dear Coltrane (based on the poetry of Michael Harper) premiered at the 2014 Furious Flower Poetry Conference featuring the combined James Madison University and Morgan State Chorales. His documentary film scores include: National Emmy Award winner Free To Dance (PBS Great Performances) and National Emmy Award winner Beyond Tara – The Extraordinary Life Of Hattie McDaniel (American Movie Classics) and Richard Wright – Black Boy (PBS/BBC production). His music can be heard at the Burial Ground Museum in lower Manhattan and at the Civil Rights Museum in Greensboro, NC. His musical theater works include composing music for Fancy Nancy ‘Splendiferous’ Christmas (based on the popular Fancy Nancy book series by Jane O'Connor, illustrated by Robin Preiss Glasser) at the Vital Musical Theatre, NYC 2014 – 2016, Music for Twinkle Tames A Dragon at the Vital Musical Theatre (based on the children's book series by Katharine Holabird), NYC 2016 – 2017.
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Scheidemann was renowned as an organist and composer, as evidenced by the wide distribution of his works; more organ music by Scheidemann survives than by any other composer of the time. Unlike the other early Baroque German composers, such as Praetorius, Schütz, Scheidt, and Schein, each of whom wrote in most of the current genres and styles, Scheidemann wrote almost entirely organ music. A few songs survive, as well as some harpsichord pieces, but they are dwarfed by the dozens of organ pieces, many in multiple movements. Scheidemann's lasting contribution to the organ literature, and to Baroque music in general, was in his settings of Lutheran chorales, which were of three general types: cantus firmus chorale arrangements, which were an early type of chorale prelude; "monodic" chorale arrangements, which imitated the current style of monody--a vocal solo over basso continuo--but for solo organ; and elaborate chorale fantasias, which were a new invention, founded on the keyboard style of Sweelinck but using the full resources of the developing German Baroque organ.
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Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth. Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator.
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" AllMusic critic James Christopher Monger wrote, "Bigger and bolder than 2009's excellent Lungs, Ceremonials rolls in like fog over the Thames, doling out a heavy- handed mix of Brit-pop-infused neo-soul anthems and lush, movie trailer-ready ballads that fuse the bluesy, electro-despair of Adele with the ornate, gothic melodrama of Kate Bush and Floodland-era Sisters of Mercy." Margaret Wappler of the Los Angeles Times found that Welch had "found a way to honor her Bjorkian appetites for lavish orchestral spectacle while finding the depth and subtlety of her voice". Barry Nicolson of NME noted that "by taking what worked about Lungs and amplifying those qualities to a natural, satisfying conclusion, Florence has made a near-great pop record that should afford her the creative freedom to do whatever the hell she wants next time around." Rolling Stone writer Jody Rosen commented that the album contains "turbulent ballads, powered by booming drums and vocal chorales rising like distant thunder, full of Welch's banshee wails.
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16 He had been hired to teach music theory to both Felix Mendelssohn and his sister Fanny. Zelter had a supply of J. S. Bach scores and was an admirer of Bach's music but he was reluctant to undertake public performances.An attempt to put on Handel's Judas Maccabeus had recently been "botched" despite long rehearsals: Applegate 2005, p. 32 When Felix Mendelssohn was preparing his revival performance of the Passion in 1829 in Berlin (the first performance outside Leipzig), he cut out "ten arias (about a third of them), seven choruses (about half), [but] only a few of the chorales," which "emphasized the drama of the Passion story ... at the expense of the reflective and Italianate solo singing."Applegate 2005, p. 39 In 1827 Felix and a few friends began weekly sessions to rehearse the Passion.Applegate 2005, p. 24 One of the group was Eduard Devrient, a baritone and since 1820 one of the principal singers at the Berlin Royal Opera.Applegate 2005, p. 28 Around December 1828 – January 1829 Devrient persuaded Felix that the two of them should approach Zelter to get the Sing- Akademie to support their project.
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In 1950 the Bach-Werke- Verzeichnis was published, allocating a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following BG for the collation (e.g. BG cantata number = BWV number of the cantata): The BWV is a thematic catalogue, thus it identifies every movement of every composition by its first measures, like the opening of BWV 1006, movement 2 (Loure) above. # Kantaten (Cantatas), BWV 1–224 # Motetten (Motets), BWV 225–231 # Messen, Messensätze, Magnificat (Masses, Mass movements, Magnificat), BWV 232–243 # Passionen, Oratorien (Passions, Oratorios), BWV 244–249 # Vierstimmige Choräle (Four-part chorales), BWV 250–438 # Lieder, Arien, Quodlibet (Songs, Arias and Quodlibet), BWV 439–524 # Werke für Orgel (Works for organ), BWV 525–771 # Werke für Klavier (Keyboard compositions), BWV 772–994 # Werke für Laute (Lute compositions), BWV 995–1000 # Kammermusik (Chamber music), BWV 1001–1040 # Orchesterwerke (Works for orchestra), BWV 1041–1071, originally in two separate chapters: Concertos (BWV 1041–1065) and Overtures (BWV 1066–1071) # Kanons (Canons), BWV 1072–1078 # Musikalisches Opfer, Kunst der Fuge (Musical Offering, Art of the Fugue), BWV 1079–1080 For instance, the Prelude and Fugue in E-flat major now became BWV 552, situated in the range of the works for organ.
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