By Charles Sanford Terry
An excerpt from the Preface:
within the current quantity these of the Cantatas and Motetts are thought of.
the writer techniques the Chorals from the ancient instead of a cultured perspective.
His item is to bare the foundation and authorship of the Hymns and Hymn melodies which, like jewels, beautify Bach's concerted Church tune.
The melodies are revealed the following of their earliest shape and, the place attainable, Bach's diversifications of them are traced to an past culture or attributed to himself In related demeanour, the textual content of his Hymn stanzas, as published by way of the Bachgesellschaft, has been collated with the originals in Philipp Wackernagel's Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des XVII Jahrhunderts (Leipzig, five vols. 1864-77) or Albert Fischer and W. Tümpel's Das deutsche evangelische Kirchenlied des siebzehnten Jakrkunderts (Gütersloh, 1904-16). The few Hymns which aren't in these collections are marked with an asterisk within the following pages. the writer has now not had the chance to ascertain their unique texts in other places.
For the aid of scholars and others the writer, at the first prevalence of each Choral melody, states the place Bach makes use of it in other places in his concerted Church song and Organ works*. hence, Bach's remedy of a selected track might be studied exhaustively.
due to the fact all yet some of the Cantatas are released merely with German texts, it has appeared really helpful to supply an Appendix of translations of the Hymn stanzas, upwards of 2 hundred and fifty in quantity, which Bach makes use of within the Cantatas and Motetts. at any place it really is to be had, the textual content of Novello & Co.'s and Messrs J. & W. Chester's versions has been used, with the permission of the 2 businesses.
Six melodies that ensue within the "Passions" and Oratorios should not present in the Cantatas or Motetts.
they're published in an Appendix. This quantity for this reason includes all of the Choral tunes utilized by Bach in his concerted Church song.
* The references all through are to Novello's version of Bach's Organ Works, Books xv-xix.
Read or Download Bach’s Chorals. Part 2 : the hymns and hymn melodies of the cantatas and motetts. PDF
Similar musical genres books
The definitive oral historical past of the Woodstock rock competition.
A whole advisor to Verdi's FALSTAFF such as the tale SYNOPSIS, important CHARACTERS within the opera, tale NARRATIVE with ONE-BAR tune spotlight EXAMPLES, and an ESSAY delivering history concerning the opera and its composer, research, and insightful observation.
Carter and Ralph Stanley--the Stanley Brothers--are resembling invoice Monroe and Flatt & Scruggs as vital contributors of the earliest new release of bluegrass musicians. during this first biography of the brothers, writer David W. Johnson records that Carter (1925-1966) and Ralph (b. 1927) have been both very important members to the culture of old-time kingdom song.
Love and St. Augustine, trans. Joanna V. Scott and Judith C. Stark, Chicago and London: college of Chicago Press, 1996.
- Iron Maiden: 30 Years of the Beast: The Complete Unauthorised Biography
- Willie Dixon: Preacher of the Blues
- Historical Dictionary of Music of the Classical Period
- Mozart the dramatist : the value of his operas to him, to his age and to us
- Fiddling Way Out Yonder: The Life and Music of Melvin Wine
Extra resources for Bach’s Chorals. Part 2 : the hymns and hymn melodies of the cantatas and motetts.
Bach's exclusive dependence on Picander is proved, perhaps, by the fact that, excepting Marianne von Ziegler, he seems to have made no effort to secure another librettist. Yet Picander hardly can have satisfied Bach, though he accepted are wanting from him and set many texts which in taste and fine feeling. Picander began his literary career as a lampoonist, a form of expression for which he was better fitted. Cantata work was quite foreign to his character, and he seems to have attempted it at Bach's instigation, under his direction, and subject to his suggestion and correction.
U Psalm cxxx. Wustmann, p. _97, suggests that the text is by Georg Christiau Eilmar, at whose request Bach composed the Cantata. 1_ Perhaps used for a wedding. 24 INTRODUCTION *15o _192 Nach dlr,Herr, verlanget mich I. Nun danket aUe Gott2. *D 4 Lobt ihn mlt Herz und Munde. FOR A WEDDING s. 195 196 I97 Dem Gerechten muss das Licht4. Der Herr denket an uns 5. Gott ist uns're Zuversicht 6. U 2 O ewlges U 3 Herr FOR 53 io6 A Feuer, Gott, FUNERAL O Ursprung Beherrscher aller der Liebe. Dinge 6. 7. Schlage doch, gewfinschte Stunde s.
21. the conduct of Ntcodemus for the Day. I6 INTRODUCTION Fourth (E. Rom. viii. I8-23. G. St Luke vi. 36-42). 24 I77 185 Ein ungefarbt Gemuthe 1, _ Ich ruf' zu dir, Herr Jesu Christ i, 3. Barmherziges Herze der ewigen Liebe _, 4. Fifth (E. I Peter iii. 8-I 5- G. St Luke v. I-i 88 Siehe, lch will vlel Fischer aussenden 1, _. 93 Wer nur den heben Gott lasst walten 3, 6, z. Sixth (E. Rom. vi. 3-IJ. 20-26). 9 I7o G. St Matt. v. Es ist das Hell uns kommen her 1, 3, z Vergnugte Ruh', behebte Seelenlust 1, 7, s Seventh (E.