Marianne Helms (2018)
Marianne Helms, real name Marianne Henze (born 3 July 1936) is a German musicologist.
Marianne Helms, real name Marianne Henze (born 3 July 1936) is a German musicologist.
Born in Berlin, Helms studied musicology (historical musicology and ethnomusicology) and medieval and modern history at the Free University of Berlin from 1955, where she received her doctorate in 1964 with a dissertation on the masses of Johannes Ockeghem. [1]
From 1965 to 1967, she was a research assistant at the Musicological Institute there. From autumn 1967 to 1978, she worked as a research assistant at the Johann Sebastian Bach Institute in Göttingen and in 1979 at the Beethoven Archive in Bonn.
From 1980, she was a member of the Joseph Haydn Institute in Cologne. She worked there as a research assistant and archivist, most recently (from July 1997 to the end of 1998) as scientific director. [2] In retirement (since 1999), she continued to work as an editor on volumes of the Complete Haydn Edition.
She has been married since 1966 to the musicologist and music educator Siegmund Helms (most recently professor at the Cologne Academy of Music). Her dissertation was published under her maiden name (Henze).
Practical sheet music
Wie schön leuchtet der Morgenstern, BWV 1, is a church cantata for Annunciation by Johann Sebastian Bach. In 1725, when the cantata was composed, the feast of the Annunciation coincided with Palm Sunday. Based on Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599), it is one of Bach's chorale cantatas. Bach composed it in his second year as Thomaskantor in Leipzig, where the Marian feast was the only occasion during Lent when music of this kind was permitted. The theme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach's chorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and last stanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias.
Liebster Gott, wenn werd ich sterben?, BWV 8, is a church cantata for the 16th Sunday after Trinity by Johann Sebastian Bach. It is a chorale cantata, part of Bach's second cantata cycle. Bach performed it for the first time on 24 September 1724 in St. Nicholas Church in Leipzig. The cantata is scored for SATB singers, four wind instruments, strings and continuo.
The New Bach Edition (NBE), is the second complete edition of the music of Johann Sebastian Bach, published by Bärenreiter. The name is short for Johann Sebastian Bach (1685–1750): New Edition of the Complete Works. It is a historical-critical edition of Bach's complete works by the Johann Sebastian Bach Institute (Johann-Sebastian-Bach-Institut) in Göttingen and the Bach Archive (Bach-Archiv) in Leipzig,
Uns ist ein Kind geboren, BWV 142 / Anh. II 23, is a Christmas cantata by an unknown composer. In the Bach-Werke-Verzeichnis it is listed among the works with a doubtful attribution to Johann Sebastian Bach. The text is based on a libretto by Erdmann Neumeister first published in 1711. Although attributed to Bach by the Bach-Gesellschaft when they first published it in the late nineteenth century, that attribution was questioned within thirty years and is no longer accepted. Johann Kuhnau, Bach's predecessor as Thomaskantor in Leipzig, has been suggested as the probable composer, but without any certainty.
Alfred Dürr was a German musicologist. He was a principal editor of the Neue Bach-Ausgabe, the second edition of the complete works of Johann Sebastian Bach.
Eva Badura-Skoda was a German-born Austrian musicologist.
Meinen Jesum laß ich nicht, BWV 124, is a church cantata written by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the first Sunday after the Epiphany and first performed it on 7 January 1725. It is based on the hymn "Meinen Jesum laß ich nicht" by Christian Keymann.
Dietrich Kilian was a German musicologist.
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.
On Trinity Sunday 27 May 1725 Johann Sebastian Bach had presented the last cantata of his second cantata cycle, the cycle which coincided with his second year in Leipzig. As director musices of the principal churches in Leipzig he presented a variety of cantatas over the next three years. New cantatas for occasions of the liturgical year composed in this period, except for a few in the chorale cantata format, are known as Bach's third cantata cycle. His next cycle of church cantatas, the Picander cycle, did not start before St. John's Day 24 June 1728.
The Triple Concerto, BWV 1044, is a concerto in A minor for traverso, violin, harpsichord, and string orchestra by Johann Sebastian Bach. He based the composition on his Prelude and Fugue BWV 894 for harpsichord and on the middle movement of his Organ Sonata BWV 527, or on earlier lost models for these compositions.
Hans-Joachim Schulze is a German musicologist, a Bach scholar who served as the director of the Bach Archive in Leipzig from 1992 to 2000. With Christoph Wolff, he was editor of the Bach-Jahrbuch from 1975 to 2000. He published an introduction to all cantatas by Johann Sebastian Bach in 2006.
Egon Voss is a German musicologist, who is particularly known for his contributions to Richard Wagner research.
Georg von Dadelsen was a German musicologist, who taught at the University of Hamburg and the University of Tübingen. He focused on Johann Sebastian Bach, his family and his environment, and the chronology of his works. As director of the Johann Sebastian Bach Institute in Göttingen, he influenced the Neue Bach-Ausgabe (NBA), the second complete edition of Bach's works.
Emil Platen is a German musicologist and conductor.
Ulrich Leisinger is a German musicologist and director of the research department of the Mozarteum University Salzburg in Salzburg.
Theodor Friedrich Wilhelm Willi Kahl was a German musicologist.
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