Bach Edition - Ascension Oratorio BWV 11

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Bach Edition - Ascension Oratorio BWV 11

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dc.contributor.other Johann Sebastian Bach es
dc.contributor.other Holland Boys Choir es
dc.contributor.other Netherlands Bach Collegium es
dc.contributor.other Pieter Jan Leusink es
dc.date.accessioned 2012-07-28T14:05:54Z
dc.date.available 2012-07-28T14:05:54Z
dc.date.issued 2012-07-28
dc.identifier.uri http://hdl.handle.net/123456789/957
dc.description.abstract Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style—which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes—still amaze musicians today. Many consider him the greatest composer of all time. Bach was born in Eisenach in 1685. He was taught to play the violin and harpsichord by his father, Johann Ambrosius, a court trumpeter in the service of the Duke of Eisenach. Young Johann was not yet ten when his father died, leaving him orphaned. He was taken in by his recently married oldest brother, Johann Christoph, who lived in Ohrdruf. Because of his excellent singing voice, Bach attained a position at the Michaelis monastery at Lüneberg in 1700. His voice changed a short while later, but he stayed on as an instrumentalist. After taking a short-lived post in Weimar in 1703 as a violinist, Bach became organist at the Neue Kirche in Arnstadt (1703-1707). His relationship with the church council was tenuous as the young musician often shirked his responsibilities, preferring to practice the organ. One account describes a four-month leave granted Bach, to travel to Lubeck where he would familiarize himself with the music of Dietrich Buxtehude. He returned to Arnstadt long after was expected and much to the dismay of the council. He then briefly served at St. Blasius in Mühlhausen as organist, beginning in June 1707, and married his cousin, Maria Barbara Bach, that fall. Bach composed his famous Toccata and Fugue in D minor (BWV 565) and his first cantatas while in Mühlhausen, but quickly outgrew the musical resources of the town. He next took a post for the Duke of Sachsen-Weimar in 1708, serving as court organist and playing in the orchestra, eventually becoming its leader in 1714. He wrote many organ compositions during this period, including his Orgel-Büchlein. Owing to politics between the Duke and his officials, Bach left Weimar and secured a post in December 1717 as Kapellmeister at Cöthen. In 1720, Bach's wife suddenly died, leaving him with four children (three others had died in infancy). A short while later, he met his second wife, soprano Anna Magdalena Wilcke, whom he married in December 1721. She would bear 13 children, though only five would survive childhood. The six Brandenburg Concertos (BWV 1046-51), among many other secular works, date from his Cöthen years. Bach became Kantor of the Thomas School in Leipzig in May 1723 and held the post until his death. It was in Leipzig that he composed the bulk of his religious and secular cantatas. Bach eventually became dissatisfied with this post, not only because of its meager financial rewards, but also because of onerous duties and inadequate facilities. Thus, he took on other projects, chief among which was the directorship of the city's Collegium Musicum, an ensemble of professional and amateur musicians who gave weekly concerts, in 1729. He also became music director at the Dresden Court in 1736, in the service of Frederick Augustus II; though his duties were vague and apparently few, they allowed him freedom to compose what he wanted. Bach began making trips to Berlin in the 1740s, not least because his son Carl Philipp Emanuel served as a court musician there. In May 1747, the composer was warmly received by King Frederick II of Prussia, for whom he wrote the gloriously abstruse Musical Offering (BWV 1079). Among Bach's last works was his 1749 Mass in B minor. Besieged by diabetes, he died on July 28, 1750. © Robert Cummings, All Music Guide es
dc.description.tableofcontents CD 24 ; Vol. V-- Lobet Gott in seinen Reichen Himmelfahrts Oratorium BWV 11 ; Coro : obet Gott in seinen Reichen, Recitative : Der Herr Jesus hub seine Hände, Recitative : Ach, Jesu, ist dein Abschied, Aria : Ach, bleibe doch, Recitative : Und ward aufgehoben zusehends, Choral : Nun lieget alles unter dir, Recitative : Und da sie ihm nachsahen, Recitative : Ach ja! so komme bald zuruck, Recitative : Sie aber beteten an, Aria : Jesu, deine Gnadenblicke, Choral : Wann soll es doch geschehen-- Ich habe genug BWV 82a, Am Feste Mariae Reinigung ; Aria : Ich habe genug, Recitative : Ich habe genug!, Aria : Schlummert ein, ihr matten Augen, Recitative : Mein Gott! wann komt das schone, Aria : Ich freue mich auf meinen Tod, Sanctus in D BWV 238 ; Coro : Sanctus, sanctus, sanctus. es
dc.format.medium 1 CD-Rom (54 min., 30 seg.) : stereo ; 4 3/4 pulg. es
dc.language.iso en es
dc.rights Uninorte F.M. Estéreo es
dc.subject.lcc 5028421931029 es
dc.subject.lcsh Oratorios. es
dc.title Bach Edition - Ascension Oratorio BWV 11 es
dc.title.alternative Himmelfahrts Oratorium BWV 11 es
dc.title.alternative Ich habe genug BWV 82a es
dc.title.alternative Sanctus BWV 238 es
dc.title.alternative Lobet Gott in seinen Reichen Himmelfahrts Oratorium BWV 11 es
dc.title.alternative Oratorios es
dc.language.rfc3066 eng es
dc.identifier.classification 5028421021300 es
dc.subject.cdu Ba.27 es


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