The Bach-Werke-Verzeichnis is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998.
Johann Ludwig Bach was a German composer and violinist.
Gottfried Heinrich Stölzel was a prolific German composer of the Baroque era. Stölzel was an accomplished German stylist who wrote a good many of the poetic texts for his vocal works.
St. Paul, Op. 36, is an oratorio by Felix Mendelssohn. The composer oversaw versions and performances in both German and English within months of completing the music in early 1836.
"The Faithful Hussar" is a German song based on a folk song known in various versions since the 19th century. In its current standard form, it is a song from the Cologne Carnival since the 1920s.
Johann Sebastian Bach composed the church cantata Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179 in Leipzig for the eleventh Sunday after Trinity and first performed it on 8 August 1723.
Heinz-Josef Fabry is a German Hebraist and deacon of the Catholic Theological Faculty of Bonn University. Following the death of his teacher Gerhard Johannes Botterweck in 1981 he was co-editor of the 15 volume Theological dictionary of the Old Testament with the Swedish scholar Helmer Ringgren. He is also author of various studies on the Dead Sea scrolls.
Waldangelbach is a river of Baden-Württemberg, Germany. It flows into the Leimbach in Wiesloch.
"Gott sei gelobet und gebenedeiet" is a Lutheran hymn of 1524 with words written by Martin Luther who used an older first stanza and melody. It is a song of thanks after communion. Luther's version in three stanzas was printed in the Erfurt Enchiridion of 1524 and in Johann Walter's choral hymnal Eyn geystlich Gesangk Buchleyn the same year. Today, the song appears in German hymnals, including both the Protestant Evangelisches Gesangbuch, and in a different version in the Catholic Gotteslob.
Thomas Christian David was an Austrian composer, conductor, choral conductor, and flutist. David was born in Wels, Upper Austria in 1925. He moved to Germany in 1934 at the age of nine with his father, composer Johann Nepomuk David, and mother. Thomas's younger brother, Lukas David, later became a violinist. In 1967, at the age of forty-two, he married Mansooreh Ghasri, a Persian Opera singer and they moved to Iran. David was the chief conductor of the orchestra of the National Iranian Television NITV, and also taught at the University of Tehran for seven years until 1973. He had an enormous and invaluable role in the growth and development of the Classical music in Iran. He conducted numerous masterpieces in different venues in Iran from late 1960s to late 1990s.
Bach's first cantata cycle refers to the church cantatas Johann Sebastian Bach composed for the somewhat less than 60 occasions of the liturgical year of his first year as Thomaskantor in Leipzig which required concerted music. That year ran from the first Sunday after Trinity in 1723 to Trinity Sunday of the next year:
- Trinity I, 30 May 1723: Die Elenden sollen essen, BWV 75
- Trinity II, 6 June 1723: Die Himmel erzählen die Ehre Gottes, BWV 76
- Trinity III, 13 June 1723: Weimar cantata Ich hatte viel Bekümmernis, BWV 21 restaged
- Trinity IV, 20 June 1723: Ein ungefärbt Gemüte, BWV 24, and Weimar cantata Barmherziges Herze der ewigen Liebe, BWV 185 restaged
- Nativity of St. John the Baptist, 24 June 1723: Ihr Menschen, rühmet Gottes Liebe, BWV 167
- Trinity V, 27 June 1723: no extant cantata
- Visitation, 2 July 1723: Herz und Mund und Tat und Leben, BWV 147 and possibly Magnificat in E-flat major, BWV 243a
- Trinity VI, 4 July 1723: no extant cantata
- Trinity VII, 11 July 1723: Ärgre dich, o Seele, nicht, BWV 186
- Trinity VIII, 18 July 1723: Erforsche mich, Gott, und erfahre mein Herz, BWV 136
- Trinity IX, 25 July 1723: Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105
- Trinity X, 1 August 1723: Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46
- Trinity XI, 8 August 1723: Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179 and Weimar cantata Mein Herze schwimmt im Blut, BWV 199 restaged
- Trinity XII, 15 August 1723: Lobe den Herrn, meine Seele, BWV 69a
- Trinity XIII, 22 August 1723: Du sollt Gott, deinen Herren, lieben, BWV 77
- Trinity XIV, 29 August 1723: Es ist nichts Gesundes an meinem Leibe, BWV 25
- (30 August 1723, Ratswechsel: not part of the liturgical year, see below)
- Trinity XV, 5 September 1723: Warum betrübst du dich, mein Herz, BWV 138
- Trinity XVI, 12 September 1723: Christus, der ist mein Leben, BWV 95
- Trinity XVII, 19 September 1723: Bringet dem Herrn Ehre seines Namens, BWV 148
- Trinity XVIII, 26 September 1723: no extant cantata
- St. Michael's Day, 29 September 1723: no extant cantata
- Trinity XIX, 3 October 1723: Ich elender Mensch, wer wird mich erlösen, BWV BWV 48
- Trinity XX, 10 October 1723: Weimar cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 restaged
- Trinity XXI, 17 October 1723: Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109
- Trinity XXII, 24 October 1723: Was soll ich aus dir machen, Ephraim, BWV 89
- Reformation Day, 31 October 1723 : possibly Weimar cantata Nur jedem das Seine, BWV 163 restaged; Alternatively an early version of BWV 80/80b?
- Trinity XXIV, 7 November 1723: O Ewigkeit, du Donnerwort, BWV 60
- Trinity XXV, 14 November 1723: Es reißet euch ein schrecklich Ende, BWV 90
- Trinity XXVI, 21 November 1723: Wachet! betet! betet! wachet! BWV 70
- Advent I, 28 November 1723: Weimar cantata Nun komm, der Heiden Heiland, BWV 61 restaged
- Christmas, 25 December 1723: Weimar cantata Christen, ätzet diesen Tag, BWV 63 restaged; Also Magnificat, BWV 243a and Sanctus in D major, BWV 238
- Second Day of Christmas, 26 December 1723: Darzu ist erschienen der Sohn Gottes, BWV 40
- Third Day of Christmas, 27 December 1723: Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64
- New Year, 1 January 1724: Singet dem Herrn ein neues Lied, BWV 190
- Sunday after New Year, 2 January 1724: Schau, lieber Gott, wie meine Feind, BWV 153
- Epiphany, 6 January 1724: Sie werden aus Saba alle kommen, BWV 65
- Epiphany I, 9 January 1724: Mein liebster Jesus ist verloren, BWV 154
- Epiphany II, 16 January 1724: Weimar cantata Mein Gott, wie lang, ach lange? BWV 155 restaged
- Epiphany III, 23 January 1724: Herr, wie du willt, so schicks mit mir, BWV 73
- Epiphany IV, 30 January 1724: Jesus schläft, was soll ich hoffen? BWV 81
- Purification, 2 February 1724: Erfreute Zeit im neuen Bunde, BWV 83
- Septuagesima, 6 February 1724: Nimm, was dein ist, und gehe hin, BWV 144
- Sexagesima, 13 February 1724: Leichtgesinnte Flattergeister, BWV 181 and Weimar cantata Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 restaged in its Leipzig version
- Estomihi, 7 February 1723 and 20 February 1724 : Jesus nahm zu sich die Zwölfe, BWV 22 and Du wahrer Gott und Davids Sohn, BWV 23 restaged in its first Leipzig version
- Annunciation and Palm Sunday 25 March 1724: Siehe eine Jungfrau ist schwanger, BWV 1135 and Weimar cantata Himmelskönig, sei willkommen, BWV 182 restaged.
- (Good Friday, 7 April 1724: St John Passion, BWV 245, 1st version — Passion, not considered as a cantata part of the cycle)
- Easter, 9 April 1724: early cantata Christ lag in Todes Banden, BWV 4 restaged ; Weimar cantata Der Himmel lacht! Die Erde jubilieret, BWV 31 restaged
- Easter Monday, 10 April 1724: Erfreut euch, ihr Herzen, BWV 66
- Easter Tuesday, 11 April 1724: Ein Herz, das seinen Jesum lebend weiß, BWV 134
- Quasimodogeniti, 16 April 1724: Halt im Gedächtnis Jesum Christ, BWV 67
- Misericordias Domini, 23 April 1724: Du Hirte Israel, höre, BWV 104
- Jubilate, 30 April 1724: Weimar cantate Weinen, Klagen, Sorgen, Zagen, BWV 12 restaged in a version with a slightly modified instrumentation
- Cantate, 7 May 1724: Wo gehest du hin? BWV 166
- Rogate, 14 May 1724: Wahrlich, wahrlich, ich sage euch, BWV BWV 86
- Ascension, 18 May 1724: Wer da gläubet und getauft wird, BWV 37
- Exaudi, 21 May 1724: Sie werden euch in den Bann tun, BWV 44
- Pentecost, 28 May 1724: Wer mich liebet, der wird mein Wort halten, BWV 59 and Weimar cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 restaged in its first Leipzig version (D major)
- Pentecost Monday, 29 May 1724: no extant cantata
- Pentecost Tuesday, 30 May 1724: Erwünschtes Freudenlicht, BWV 184
- Trinity, 4 June 1724: Höchsterwünschtes Freudenfest, BWV 194, originally a consecration cantata, restaged in its first Leipzig version
Kirchenlied is a German Catholic hymnal published in 1938. It was a collection of 140 old and new songs, including hymns by Protestant authors. It was the seed for a common Catholic hymnal which was realised decades later, in the Gotteslob (1975).
"Allein Gott in der Höh sei Ehr" is an early Lutheran hymn, with text and melody attributed to Nikolaus Decius. With the reformers intending church service in German, it was intended as a German version of the Gloria part of the Latin mass, used in almost every service. Decius wrote three stanzas, probably in 1523, while a fourth was added, probably by Joachim Slüter.
"Weißt du, wie viel Sternlein stehen" is a German lullaby and popular evening song. The lyrics were written by the Protestant pastor and poet Wilhelm Hey (1789–1854), who published them first in 1837. The melody is recorded back to 1818. A poetic English translation of the first and third verse is by Henry William Dulcken (1832–1894).
"Nun liebe Seel, nun ist es Zeit", alternatively written "Nun, liebe Seel, nun ist es Zeit", is a Lutheran hymn for Epiphany, in five stanzas of six lines each, by Georg Weissel. It was first printed in 1642, set as a motet by Johannes Eccard. A version with an additional stanza is attributed to Johann Christoph Arnschwanger.
"Ein Danklied sei dem Herrn" is a Christian hymn with German text written by Guido Maria Dreves in 1886, and a melody written by Josef Venantius von Wöß in 1928. It is a song of thanks and praise of God who protects the persons he created. The song appeared as part of the Catholic Gotteslob.
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