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Johann Christoph Altnickol, or Altnikol, (baptised 1 January 1720, buried 25 July 1759) [1] was a German organist, bass singer, and composer. He was a student, copyist and son-in-law of Johann Sebastian Bach.
Altnikol was born in Berna bei Seidenberg, Oberlausitz, [1] [2] and first educated at the Lauban Lyceum in 1733. He was employed as a singer and assistant organist at St Maria Magdalena, Breslau, between 1740 and 1744. He began studying theology at the University of Leipzig from March 1744, [1] after being granted four thalers as a viaticum in January of that year. From Michaelmas 1745 he sang as a bass in Johann Sebastian Bach's choirs (asserted by Bach in May 1747 when Altnickol claimed a grant of 12 thalers in April/May 1747 for the work), something he should not have been allowed to do as a university student. He also served as a scribe for Bach, copying for example The Well-Tempered Clavier . [1] He was recommended by W. F. Bach as the successor to his post at Dresden in April 1746, with the assertion that he had studied keyboard and composition with his father, but was not awarded the appointment.
He was appointed as organist and schoolmaster at Niederwiesa, near Greiffenberg, Silesia, in January 1748, after Bach testified that he was a satisfactory student. [1] In September of that year, he moved to a post at St Wenzel, Naumburg, [3] after another recommendation from Bach; [1] the council unanimously agreed to appoint him before they had received his formal application. He married Bach's daughter Elisabeth Juliane Friderica in January 1749; [1] their first son was born in October of the same year and named Johann Sebastian, but died in infancy. Forkel wrote that Bach dictated his last chorale prelude (Vor deinen Thron tret ich hiermit, BWV 668) to Altnickol on his deathbed, although this manuscript did not survive.
Johann Sebastian Bach died in 1750. One of his last students, Johann Gottfried Müthel, continued his studies with Altnikol, [4] who was also involved in the marketing of the Art of Fugue which had been initiated by Bach's heirs. [5] Altnikol was unsuccessful in an application for a post at the Johanniskirche, Zittau, in 1753, along with W. F. Bach. He taught trumpeter J. Ernst Altenburg in 1757, and is known to have directed a pasticcio passion cantata Wer ist der, so von Edom kömmt , featuring music by C. H. Graun, Bach and Telemann, as well as Bach's St Matthew Passion . He was succeeded by Johann Friedrich Gräbner at Naumburg upon his death in 1759. Shortly afterwards his widow returned to Leipzig with her two daughters. She received allowance from C. P. E. Bach, her half-brother, and died on 24 August 1781. [6]
Many of his works have been lost. [1]
Antonio Lotti was an Italian composer of the Baroque era.
Johann Adam Reincken was a Dutch/German organist and composer. He was one of the most important composers of the 17th century, a friend of Dieterich Buxtehude and a major influence on Johann Sebastian Bach; however, very few of his works survive to this day.
"Bist du bei mir, geh ich mit Freuden" is an aria from Gottfried Heinrich Stölzel's opera Diomedes, which was first staged on 16 November 1718. The aria is best known as "Bist du bei mir," BWV 508, a version for voice and continuo found as No. 25 in the 1725 Notebook for Anna Magdalena Bach.
Gottfried Heinrich Bach was a child of Johann Sebastian Bach and the firstborn son of his second wife Anna Magdalena Bach. He was born in Leipzig, where his parents had moved the year before his birth.
The Minuets in G major and G minor, BWV Anh. 114 and 115, are a pair of movements from a suite for harpsichord by Christian Petzold, which, through their appearance in the 1725 Notebook for Anna Magdalena Bach, used to be attributed to Johann Sebastian Bach. These minuets, which are suitable for beginners on the piano, are among the best known pieces of music literature. The 1965 pop song "A Lover's Concerto", of which millions of copies were sold, is based on the first of these Minuets.
Ludwig Helmbold, also spelled Ludwig Heimbold, was a poet of Lutheran hymns. He is probably best known for his hymn "Nun laßt uns Gott dem Herren", of which J. S. Bach used the fifth stanza for his cantata O heilges Geist- und Wasserbad, BWV 165; Bach also used his words in BWV 73, 79 and 186a.
As Thomaskantor, Johann Sebastian Bach provided Passion music for Good Friday services in Leipzig. The extant St Matthew Passion and St John Passion are Passion oratorios composed by Bach.
Geschwinde, geschwinde, ihr wirbelnden Winde, BWV 201, is a secular cantata by Johann Sebastian Bach, on a libretto by Picander. It is a dramma per musica, likely composed for a public performance in 1729, around which time its oldest extant printed libretto was published. The text, titled Der Streit zwischen Phoebus und Pan, is based on the "Ears of a Donkey" story in Ovid's Metamorphoses, and mocks unsophisticated music in favour of a more intelligent composition style.
Schlage doch, gewünschte Stunde, BWV 53, is an aria for alto, bells, strings and continuo. It was likely composed in the early 18th century, although its date of first performance is unknown. From the second half of the 18th century until the early 1950s the aria was attributed to Johann Sebastian Bach. In 1955, it was suggested by the Bach scholar Karl Anton that the aria's composer was more likely to be a member of Melchior Hoffmann's circle.
Bekennen will ich seinen Namen, BWV 200, is an arrangement by Johann Sebastian Bach of an aria from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. He scored it for alto, two violins and continuo, possibly as part of a cantata for the feast of Purification. He probably led the first performance around 1742.
In Johann Sebastian Bach's time, the election or inauguration of a new town council, normally an annual event, was celebrated with a church service. A cantata written for such occasion was indicated with the term Ratswahl or Ratswechsel. Bach composed such cantatas for Mühlhausen and for Leipzig. Five of these cantatas are entirely extant. One further cantata, BWV 193.2, lost part of its music, and there are another five that have only been known to exist, or for which only the text is extant.
Wer ist der, so von Edom kömmt is a pasticcio Passion oratorio based on compositions by Carl Heinrich Graun, Georg Philipp Telemann, Johann Sebastian Bach and others. The pasticcio was assembled around 1750.
BWV Anh., abbreviation of Bach-Werke-Verzeichnis Anhang, is a list of lost, doubtful, and spurious compositions by, or once attributed to, Johann Sebastian Bach.
Jauchzet dem Herrn alle Welt is a three-movement pasticcio motet for double SATB choir. It includes music by Georg Philipp Telemann and Johann Sebastian Bach. The text of the motet is a German paraphrase of Psalm 100.
The Kyrie–Gloria Mass for double choir, BWV Anh. 167, is a mass composition in G major by an unknown composer. The work was likely composed in the last quarter of the 17th century. The composition has two sections, a Kyrie and a Gloria, each subdivided in three movements. It has twenty-two parts for performers: twelve parts for singers, and ten for instrumentalists, including strings, wind instruments and organ. Johann Sebastian Bach may have encountered the work around 1710, when he was employed in Weimar. In the 1730s he produced a manuscript copy of the Mass.
Johann Sebastian Bach worked at the ducal court in Weimar from 1708 to 1717. The composition of cantatas for the Schlosskirche on a regular monthly basis started with his promotion to Konzertmeister in March 1714.
In the period following Johann Sebastian Bach's death in 1750, apart from the publication of The Art of Fugue in the early 1750s, the only further publications prior to the 1790s were the settings of Bach's four-part chorales. In 1758 Friedrich Wilhelm Marpurg was the first to start preparing a published edition of Bach's four-part chorales, but in 1763 was prevented by royal duties. C. P. E. Bach, who owned the original manuscripts, then set about the same task, producing two volumes in 1765 and 1769. Dissatisfied with his publisher Friedrich Wilhelm Birnstiel, he surrendered the manuscript rights in 1771 to Johann Kirnberger and his patron Princess Anna Amalia of Prussia. From 1777 onwards, Kirnberger unsuccessfully made requests to Birnstiel and a new publisher, Johann Gottlob Immanuel Breitkopf, to publish the chorales. Following Kirnberger's death in 1783, C.P.E. Bach approached Breitkopf, who published them in four volumes between 1784 and 1787.
Daniel Vetter was an organist and composer of the German Baroque era.
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