Johann Sebastian Bach: Difference between revisions

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===Editions with texts translated to other languages===
===Editions with texts translated to other languages===
 
{{top}}
*{{NoCo|Ah Lord when my last end is come|Ah Lord when my last end is come}}
*{{NoCo|Ah Lord when my last end is come|Ah Lord when my last end is come}}
*{{NoCo|All glory, laud and honour}}
*{{NoCo|All glory, laud and honour}}
*{{NoCo|All my heart this night rejoices}}
*{{NoCo|All my heart this night rejoices}}
*{{NoComp|Behold! in lowly manger stall}}
*{{NoComp|Behold! in lowly manger stall}}
*{{NoComp|Credo in unum Deum}}
*{{NoComp|Credo in unum Deum, BWV 437}}
*{{NoComp|Discendi Santo Spirito}}
*{{NoComp|Discendi Santo Spirito}}
*{{NoComp|Ein Kind geborn zu Bethlehem}}
*{{NoComp|Ein Kind geborn zu Bethlehem}}
*{{NoComp|In peace and joy}}
*{{NoComp|In peace and joy}}
*{{NoComp|Lodate Dio}} (Italian version of 'Lobet den Herrn')
*{{NoComp|Lodate Dio}} (Italian version of 'Lobet den Herrn')
{{mdl|3}}
*{{NoComp|Now Blessed be Thou, Christ Jesu, BWV 314|Johann Sebastian Bach}}
*{{NoComp|Now Blessed be Thou, Christ Jesu, BWV 314|Johann Sebastian Bach}}
*{{NoComp|Now join we all to praise Thee, BWV 362}}
*{{NoComp|Now join we all to praise Thee, BWV 362}}
*{{NoCo|Now let us to the bagpipe' sound (from 'Peasant Cantata')}}
*{{NoCo|Now let us to the bagpipe' sound (from 'Peasant Cantata')}}
*{{NoCo|O caput cruentatum}}
*{{NoCo|O caput cruentatum, BWV 244.44}}
*{{NoCo|O hail this brightest day of days}}
*{{NoCo|O hail this brightest day of days, BWV 294}}
*{{NoCo|O Jesulein süß|O Little Sweet (English translation of Jesulein süß)}}
*{{NoCo|O Jesulein süß, BWV 493|O Little Sweet (English translation of Jesulein süß)}}
*{{NoComp|Ode to the Seasons (and to Change)}}
*{{NoComp|Ode to the Seasons (and to Change)}}
*{{NoCo|Oratório de Natal}} (Portuguese version of Christmas Oratory)
*{{NoCo|Oratório de Natal}} (Portuguese version of Christmas Oratorio)
*{{NoCo|Psallite Deo nostro in laetitia (sicut locutus est from Magnificat)}}
*''[[Psallite Deo nostro in laetitia (sicut locutus est from Magnificat), BWV 243.11 (Johann Sebastian Bach)|Psallite Deo nostro in laetitia]]''
{{mdl|3}}
*{{NoComp|Rejoice ye Heavens}}
*{{NoComp|Rejoice ye Heavens}}
*{{NoCo|Round me falls the night}}
*{{NoCo|Round me falls the night}}
*{{NoComp|Señor, tu que eres bueno}}
*{{NoComp|Señor, tu que eres bueno, BWV 244.17}}
*{{NoComp|Signore dolce volto}}
*{{NoComp|Signore dolce volto, BWV 244.44}}
*{{NoCo|Van 't vroeglicht van de dageraad, BWV 121.1}}
*{{NoComp|We Christians may rejoice}}
*{{NoComp|We Christians may rejoice}}
*{{NoCo|Van 't vroeglicht van de dageraad, BWV 121}}
{{btm}}


===Vocal Arrangements based on Bach's works===
===Vocal Arrangements based on Bach's works===

Revision as of 15:16, 25 November 2020

Disambig colour.svg "Bach" redirects here. If you are looking for a different Bach, see the disambiguation page.
J.S. Bach as painted by Gottlieb Haussmann (circa 1747).

Life

Born: 21 March 1685

Died: 28 July 1750

Biography

Johann Sebastian Bach was a prolific German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, a control of harmonic and motivic organization from the smallest to the largest scales, and the adaptation of rhythms and textures from abroad, particularly Italy and France.

While Bach's fame as an organist was great during his lifetime, he was not particularly well-known as a composer. His adherence to Baroque forms and contrapuntal style was considered "old-fashioned" by his contemporaries, especially late in his career when the musical fashion tended towards Rococo and later Classical styles. A revival of interest and performances of his music began early in the 19th century, and he is now widely considered to be one of the greatest composers in the Western tradition.

The above is an excerpt from Wikipedia. For the full article, click here.

List of choral works

Cantatas (BWV1-BWV 224 and BWV 249)

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

S

T

U

V

W

Z

Chorale Harmonizations (BWV 250-BWV 438)

Comparative Editions (Chorales with different harmonizations)

Passions, Oratorios, Magnificat

Masses

Motets

  1. Singet dem Herrn ein neues Lied, BWV 225
  2. Der Geist hilft unsrer Schwachheit auf, BWV 226
  3. Komm, heiliger Geist, Herre Gott, BWV 226
  4. Jesu, meine Freude, BWV 227
  5. Fürchte dich nicht, BWV 228
  6. Komm, Jesu, komm, BWV 229
  7. Lobet den Herrn, BWV 230

Lieder, songs, arias

Other works


Editions with texts translated to other languages

Vocal Arrangements based on Bach's works

Misattributed works


Click here to search for this composer on CPDL

Publications

Recordings of interest

BWV Title Performers Orchestra Medium Label Notes
35, 54, 170 Bach: Cantatas for alto Andreas Scholl, Marcel Ponseele, Markus Markl Collegium Vocale Orchestra 1 CD 1999 Harmonia Mundi 314902016440
172, 68, 1 Bach Kantaten (1) Arleen Augér, Ortrun Wenkel, Peter Schreier, Theo Adam Rotzsch, Neues Bachisches Collegium Musicum CD 1981-1983 Berlin Classics 0021502BC Highlights: Arleen Augér, Peter Schreier, Ludwig Güttler trumpet, good tempos and control of Thomanerchor by Rotzsch
137, 21 Bach Kantaten (3) Arleen Augér, Ortrun Wenkel, Peter Schreier, Theo Adam CD 1981-1983 Leipzig Classics BC-2175-2
140, 61, 36 Bach: Kantaten (7) Arleen Augér, Peter Schreier, Siegfried Lorenz CD 1980-1983 Berlin Classics 0020992BC
110, 71 Bach: Kantaten (8) Arleen Augér, Ortrun Wenkel, Peter Schreier, Siegfried Lorenz CD 1981-1982 Berlin Classics 0021002BC
79, 80, 192, 50 Bach Kantaten (9) Arleen Augér, Ortrun Wenkel, Peter Schreier, Theo Adam CD 1980-1982 Berlin Classics 0021762BC
244 Matthäus-Passion Peter Schreier, Theo Adam, Siegfried Vogel, Johannes Künzel, Hermann Christian Polster Mauersberger & Mauersberger, Dresdner Kreuzchor & Thomanerchor; Gewandhausorchester Leipzig 3 CD 1970 Leipzig Classics One of the best recordings: clarity of Schreier, especially the passion of the combined choirs. The last chorus is especially moving, given the history of Dresden in the decades before 1970. See review here.
245 Johannes-Passion Hermann Prey, Evelyn Lear, Ernst Haefliger, Hertha Töpper Karl Richter, Münchener Bach-Chor & Münchener Bach-Orchester 2 CD 1964 Deutsche Grammophon 453-007-2 Definitely a romantic interpretation, but one that improves with age.

External links