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The Mass in B minor, BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo.
SATB is an initialism that describes the scoring of compositions for choirs or consorts of instruments. The initials are for the voice types: S, soprano, A, alto, T, tenor and B, bass. It can also be used to describe a choir, collectively for SATB music.
Johann Sebastian Bach composed the church cantata (Bach) Wo soll ich fliehen hin, BWV 5, in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. It is based on the penitential hymn "Wo soll ich fliehen hin" by Johann Heermann.
Joshua Rifkin is an American conductor, pianist, and musicologist. He is currently a professor of music at Boston University. As a performer he has recorded music by composers from Antoine Busnois to Silvestre Revueltas; as a scholar has published research on composers from the Renaissance to the 20th century.
Jesu, der du meine Seele, BWV 78, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the 14th Sunday after Trinity and first performed it on 10 September 1724. It is based on the 1641 hymn by Johann Rist, "Jesu, der du meine Seele", for which it is named. The topic of the chorale, the Passion of Jesus cleansing the believer, is only distantly related to the Sunday's readings.
Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts, and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach.
The cantatas composed by Johann Sebastian Bach, known as Bach cantatas, are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723.
In music, one voice per part (OVPP) is the practice of performing choral music with a single voice on each vocal line. In the specific context of Johann Sebastian Bach's works it is also known as the Rifkin hypothesis, set forth in Joshua Rifkin's 1982 article and expanded in Andrew Parrott's book The Essential Bach Choir. Choral works featuring SATB vocal parts are consequently sung by four singers when this approach is adopted.
Johann Sebastian Bach composed the church cantata O Ewigkeit, du Donnerwort, BWV 20, in Leipzig for the first Sunday after Trinity, which fell on 11 June in 1724. Bach composed it when beginning his second year as Thomaskantor in Leipzig. It is the first cantata he composed for his second annual cycle which was planned to contain chorale cantatas, each based on a Lutheran hymn. The cantata is focused on Johann Rist's 1642 hymn "O Ewigkeit, du Donnerwort", with a chorale melody by Johann Schop. The topic of death and eternity matches the Gospel for the Sunday, the parable of the Rich man and Lazarus.
Notable recordings of Johann Sebastian Bach's St Matthew Passion (Matthäus-Passion) are shown below in a sortable table.
Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, is a church cantata by the German composer Johann Sebastian Bach. It was composed in either 1707 or 1708, which makes it one of Bach's earliest cantatas. Some sources suggest that it could be his earliest surviving work in this form, but current thinking is that there are one or two earlier examples.
Recordings of the St John Passion are shown as a sortable table of selected notable recordings of Johann Sebastian Bach's St John Passion, BWV 245. The selection is taken from the 241 recordings listed on bach-cantatas as of 2015.
Dorothee Mields is a German soprano concert singer of Baroque and contemporary music.
Most of Johann Sebastian Bach's extant church music in Latin—settings of the Mass ordinary and of the Magnificat canticle—dates from his Leipzig period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as Thomaskantor in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of German and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes".
The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the Ordinarium missae. Towards the end of his life, mainly in 1748 and 1749, he finished composing new sections and compiling it into a complex, unified structure.
Max Ciolek is a German tenor, conductor and composer. He is the founder of VokalEnsemble Köln. As a singer, he is noted for his recordings of Bach works, particularly the Evangelist in his Passions, but he has recorded music from all periods of classical music and has appeared internationally.
The Magnificat in E-flat major, BWV 243a, also BWV 243.1, by Johann Sebastian Bach is a musical setting of the Latin text of the Magnificat, Mary's canticle from the Gospel of Luke. It was composed in 1723 and is in twelve movements, scored for five vocal parts and a Baroque orchestra of trumpets, timpani, oboes, strings and basso continuo including bassoon. Bach revised the work some ten years later, transposing it from E-flat major to D major, and creating the version mostly performed today, BWV 243.
Midori Suzuki is a Japanese classical soprano, specializing in Baroque music. She has recorded many cantatas by Johann Sebastian Bach with the Bach Collegium Japan, both as a soloist and as a member of the ensemble.
Antonia Fahberg was an Austrian lyric soprano in opera and concert. Her career focused on the Bavarian State Opera where she sang for 25 years. She performed regularly in concerts and recordings with Karl Richter and the Münchener Bach-Chor, and appeared at major opera houses and festivals in Europe.
This is a list of recordings of Bach's cantata Ich will den Kreuzstab gerne tragen, BWV 56, a solo cantata for bass or bass-baritone composed for the 19th Sunday after Trinity, first performed on 29 October 1726. In English, it is commonly referred to as the Kreuzstab cantata.
References
- 1 2 "Mass in B minor BWV 232 - Recordings Part 1: 1900–1949". bach-cantatas.com. Retrieved 23 February 2015.
- 1 2 3 4 5 6 "Mass in B minor BWV 232 - Recordings Part 2: 1950–1959". bach-cantatas.com. Retrieved 23 February 2015.
- 1 2 3 4 5 "Mass in B minor BWV 232 - Recordings Part 3: 1960–1969". bach-cantatas.com. Retrieved 12 October 2013.
- 1 2 3 "Mass in B minor BWV 232 - Recordings Part 4: 1970–1979". bach-cantatas.com. Retrieved 23 February 2015.
- 1 2 3 4 5 6 "Mass in B minor BWV 232 - Recordings Part 5: 1980–1989". bach-cantatas.com. Retrieved 23 February 2015.
- 1 2 3 4 5 6 7 8 9 10 11 12 13 "Mass in B minor BWV 232 - Recordings Part 6: 1990–1999". bach-cantatas.com. Retrieved 23 February 2015.
- ↑ "Bach: Mass in B minor - Robert Shaw | Songs, Reviews, Credits, Awards". AllMusic. Retrieved 12 October 2013.
- 1 2 3 4 5 6 7 8 9 10 11 "Mass in B minor BWV 232 - Recordings Part 7: 2000–2009". bach-cantatas.com. Retrieved 23 February 2015.
- ↑ "Mass in B minor BWV 232 - Recordings Part 8: 2010–2019". bach-cantatas.com. Retrieved 23 February 2015.