Johann Sebastian Bach (21 March 1685 ? 28 July 1750) was a 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.[1] Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation in composition for diverse instrumentation, and the adaptation of rhythms and textures from abroad, particularly Italy and France.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg concertos, the Goldberg Variations, the Partitas, the Well-Tempered Clavier, the Mass in B Minor, the St. Matthew Passion, the St. John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English Suites, the French Suites, the Sonatas and Partitas for violin solo, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D Minor.
While Bach's abilities as an organist were recognized and highly respected throughout Europe 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. (Collapse)...(Read more)
"Jesu, meine Freude" ("Jesus, My Joy") is a motet composed by Johann Sebastian Bach. The work, which takes its title from the chorale by Johann Franck...
"Jesu, meine Freude" ("Jesus, My Joy") is a motet composed by Johann Sebastian Bach. The work, which takes its title from the chorale by Johann Franck on which it is based, is also known as Motet No. 3 in E minor, BWV 227. The stanzas of the chorale are interspersed with passages from the Epistle to the Romans.
Bach's organ piece, chorale prelude BWV 610, bears the same title. This work, which is earlier and shorter than the motet, is based on the same chorale melody by Johann Crüger. There are six authenticated funeral motets (BWV 225--230) written for St Thomas's Church, Leipzig, between 1723 and 1727.
To Bach's contemporaries "motet" meant a simple vocal work without independent instrumental parts (though instruments sometimes doubled the voices). Motets often began the Sunday service, and were typically sung by inexperienced singers. In a 1730 memo to the Leipzig town council, Bach mentioned boys in his school who were "motet singers, who need further training in order to be used eventually for figured music," by which he meant the more elaborate and demanding music of the cantatas. But Bach's own motets, like all his music, are quite demanding, and he likely did not use them in church services. It is not clear exactly what their purpose was. One of them is known to have been sung at a prominent person's funeral, but theories about specific occasions for his other motets, including Jesu, meine Freude, have not held up over the years.
Most 18th-century Lutheran church music is based on hymns, called "chorales," that dated from the previous two centuries and were familiar to everyone. In Jesu, meine Freude, the odd-numbered movements are settings of verses of Johann Franck's 1653 chorale of the same name, while the even-numbered movements set excerpts of Paul's Epistle to the Romans. The eleven movements have an overarching symmetry, much of it not apparent, or important, to the listener, though it's worth noting that the first and last movements are identical harmonizations of the chorale, the second and tenth movements work with the same musical material, the central sixth movement is an elaborate fugue, and Bach reduces the texture to three voices in the fourth and eighth movements.
Although "Unter deinen Schirmen" ("Under your protection") was originally written for Chorus (SATB), I created this arrangement for Double-Reed Quintet (2 Oboes, English Horn & 2 Bassoons).
GUITAR
KEYBOARD
STUDIO
PA
LIGHT
DEEJAY
MIC
Browse without ads
