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)
Es wartet alles auf dich (Everything waits for You), BWV 187, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the seventh ...
Es wartet alles auf dich (Everything waits for You), BWV 187, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the seventh Sunday after Trinity and first performed it on 4 August 1726. Bach later used the music from four movements of this cantata for his Missa in G minor, BWV 235.
Bach wrote the cantata in 1726 for the seventh Sunday after Trinity as part of his third annual cycle. The prescribed readings for the Sunday are from the Epistle to the Romans, "the wages of sin is death; but the gift of God is eternal life" (Romans 6:19--23), and from the Gospel of Mark, the feeding of the 4000 (Mark 8:1--9). The opening chorus is based on Psalms 104:27--28, directly related to the reading. Part two is opened by a bass aria on Matthew 6:31--32 from the Sermon on the Mount. The cantata is closed by verses 4 and 6 of Hans Vogel's chorale "Singen wir aus Herzensgrund" (1563). The poet of the other movements is unknown; Walther Blankenburg suggested Christoph Helm. The poet paraphrased in movement 1 more lines from Psalm 104 and in movement 3 Psalms 65:12.
Bach performed the cantata at least three times, first on 4 August 1726, a second time between 1735 and 1740, and a third time on 26 July 1749. He used the music of four movements, the opening chorus and the arias, for movements of the Gloria of his Missa in G minor, BWV 235.
In the opening chorus Bach achieves a unity of form, but at the same time an individual handling of the four ideas of the text, as in a motet. The motifs of the instrumental sinfonia of 28 measures are continued through most of the movement, creating unity. "Es wartet alles auf dich" (a) is expressed in free polyphony embedded in the instrumental music, then repeated together with "daß du ihnen Speise gibest" (b) in free polyphony with canonic imitation on two themes, with the instruments playing mostly colla parte, then a and b are repeated within a part of the sinfonia, which is continued instrumentally. In the following second section, "Wenn du ihnen gibest ..." (c) is the theme of a choral fugue, "Wenn du deine Hand auftust ..." (d) is the countersubject. The instruments play colla parte first, then add motifs from the sinfonia. In the third concluding section the complete text is repeated within a part of the sinfonia.
The first aria praises God as the sustainer of life, accompanied by the full orchestra in a dance-rhythm with irregular grouping of measures in the ritornellos.
In movement 4 the biblical words from the Sermon on the Mount are given to the bass as the vox Christi (voice of Christ), accompanied by the violins in unison and the continuo, which also takes part in their motifs.
The soprano aria is in two contrasting parts, the first one accompanied by festive dotted rhythms and a broad melody of the solo oboe, the second, marked un poco allegro, again like a dance. Only the instruments repeat the dotted rhythm of the beginning. The last words of the soloist in the recitative are enriched by the strings, like the vox Christi in Bach's St Matthew Passion.
The final chorale is a four-part setting for the choir and all instruments.
Although originally scored for soprano, alto and bass soloists, a four-part choir, two oboes, two violins, viola, and basso continuo, I created this arrangement for Double-Reed Trio (2 Oboes & Bassoon).
GUITAR
KEYBOARD
STUDIO
PA
LIGHT
DEEJAY
MIC
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