Johann Sebastian Bach is often identified as the summarizer of the Baroque era and contributed significantly to the practice and theoretical development of Western music. He composed copious amounts of music, including over 500 vocal compositions such as sacred and secular cantatas, motets, masses, and passions. The majority of Bach's cantatas date back to his post in Leipzig. Although he is considered to have written five cantata cycles, only the first three are virtually complete; the remaining two are either lost or unable to be attributed to Bach. Bach's second year in Leipzig is considered his most prolific. On the 14th Sunday after Trinity during 1724, Bach premiered Bwv. 78, Jesu, der du meine Seele. Utilizing the chorale melody and hymn text written by Johann Rist in 1641, Bach incorporated the entirety of the first and twelfth stanza within the cantata's first and seventh movements. Additionally, Bach paraphrased portions of Rist's poetry in movements three and five; the author of the remaining text remains unknown. This paragraph is a great example of Bach's ability to musically interpret and enhance religious texts. The liturgical readings for this particular Sunday included the parable of Jesus and the cleansing of the lepers. Maintaining the key of G minor, the overall mood of the chorale can be perceived as unconfident and unsure, which is also supported by the text, "Herr, ich glaube, hilf mir Schwachen" (Lord, I believe, help me in my weakness). As demonstrated in the previous movement, one can struggle for the conviction of Christ; however, without his love, we are destined to wander aimlessly in this world. This is the weakness referred to in the text. However, as the chorale progresses towards the final two cadential points in measures 14-16, the cantata concludes in the parallel key of G major. The usage of the Picardy third sheds light on the final text, "in der süssen Ewigkeit" (in sweet eternity), and brings a sense of resolution and hope to the piece.
The piece itself is about a man (the narrator) who commits some form of domestic violence against his partner/wife, and is begging for forgiveness - asking God to understand that he didn’t truly mean to hurt her and that he is sorry, ‘I’m just a soul whose intentions are
<td width="50%">Baroque OrchestrasClassical OrchestrasString section and basso continuo central to the orchestra. Other instruments are occasional additions.Standard group of four sections: strings, woodwinds, brass and percussion. Different instruments treated individually.Fairly small; generally 10- 40 players.Larger than baroque; great variation to the numbers of players.Flexible use of timbres, e.g. Timpani and trumpets used generally just for festive music.Standardised sections. Most sections used regularly.Tone colour is distinctly secondary to other musical elements.Greater variety of tone colour and more rapid changes of colour. Timbre is unimportant and therefore a piece written for harpsichord could easily be rearranged for a string section.Each section of the classical orchestra has a special role. And each instrument is used distinctively.Wind instruments mainly used as solo instruments or as part of the basso continuo.The wind section had become a separate unit capable of contrast and distinct colour.The harpsichord generally plays an ostinato under the orchestra. Piano not invented.The piano introduces a third colour-tone to be contrasted with the orchestra
In this essay I will examine how Priestly ends each act on a note of
..., but still pleads for God to "take me in" (ll. 41), and promises to "pay...in happiness" for mercy. Once again, the speaker demonstrates the same desires for physical treasures that he expresses in the first stanza as he asks God to "give mine eye / A peephole there to see bright glory's chases" (ll. 39-40). Even in the God's kingdom, the speaker reveals his humanity as he focuses on ornamentation which starkly contrasts with God's divinity as He has the ability to show love even for sinners.
And them behold no more shall I” (Lines 27-28). She suffers through an internal struggle between her love of people and things and her love and service to God. By being able to tell the story of her house, she believes she is special to God and he makes her realize what is truly important in life.
These sections can be divided into even smaller sections, with section a having three subsections. All of section a is based on Acts 17:28 from the Bible, which reads “For in Him we live and move and have our being. As some of your own poets have said, we are His offspring.” This is from the Old Testament of the Bible, otherwise known as the Law before Christ. This theme is extremely important to this work; so significant, in fact, that this work’s alternate title, Actus Tragicus, suggests the concept of God’s will. Actus Tragicus is translated from the German Trauerspiel, which is a tragedy play that focused on bereavement over the human condition. From a Lutheran standpoint, humans cannot overcome their own selves, and they must trust in God and His plan. (232 online) According to Acts 17:28, humans are unsustainable without God, so they live for and through him. They must trust that God is ever-knowing and to believe in His will. Using the word “offspring” also proposes that humans must have respect for him, considering the fifth of the Ten Commandments: Honor your father and your mother. Calling people the offspring of God implicates that He is the almighty father, meaning people must honor Him. This, in turn, calls on humans to have trust and respect in His will, and to believe that they will meet Him someday. Acts 17:28 also states that we “move” and “live” through God. While this obviously means that people live not for themselves, but for God, it also suggests that life is dynamic, whether it be through events that occur or the fluctuating emotions people feel throughout their time living for God. Even in just this one section of the second movement, Bach displays various styles from subsection to subsection, suggesting that the emotions surrounding death can be different and ever-changing. (230
Throughout history many famous concerto pianists composed various types of music. One of those pianists was named Johann Sebastian Bach. J.S. Bach was arguably one of the best composers in Western music history. Born in Eisenach, Germany to a family of musicians, Bach grew up playing the organ and keyboard. J.S. Bach’s music was characterized as a classification of Baroque music. Baroque was an era of dominant European styled art and music in the 17th century. The term baroque is “applied to art of any time or place that shows the qualities of vigorous movement and emotional intensity associated with art in its primary meaning.” Bach’s famous Baroque style was a combination of many notes, simple motoric rhythms, and a steady shift of underlying harmony.
Johann Sebastian Bach was one of the most famous German composers of his time. All of his work was mostly during the baroque era. The baroque period was from 1600 to 1750 and it is known to be one of the most diverse musical periods as opposed to the other classical music eras. It was in this era that “included composer like Bach, Vivaldi and Handel, who pioneered new styles like the concerto and the sonata.”(Classic FM) Johann Sebastian was born in the midst of the Baroque era as he was born on March 31, 1685 in Thuringia, Germany. Johann came from a family of musicians, which is how he himself became one as well. It was his father who showed him how to play his first instrument, which was the violin. His father was also a well-known musician in his town as he “worked as the town musician in Eisenach.”(Johann Sebastian Bach) It is known that Johann Sebastian went to a school that taught him
According to Rowell, "Musical composition became much longer, and composer were forced to evolve new means of maintaining unity and continuity over long time spans" during the Baroque period. Therefore, the texture of music became very important. When I look at the musical texutre of the Cantata No. 78 by J. S. Bach, I realized that this piece was unified very well within a movement and as a whole piece by many techniques. Some of those techniques were found in the text, and the others were in the music.
The truth can sometimes depend on the circumstance and the person who states it. When confronted with conflicting accounts or questionable details, a judge within the court of law must decide the sentence of an individual with these obstacles in place. In this case, the defendant Dannie McGrew has been charged with the murder of Barney Quill, but claims that it was self-defense. The following contains a thorough explanation as to how the judge decided upon the verdict of acquittal.
Between the 1600s and the 1700s, many would think more of Kings or Queens who ruled their vast kingdoms for years upon years rather than a great composer such as Johann Sebastian Bach, a man who greatly contributed to Germany and many other specific regions of Europe during his life. Born in 1685 Eisenach on March 21, Bach was a member of one of the most excellent musical families of all time as, for over 200 years, the Bach family had birthed some of the most superb composers and performers, many supported by churches, the government, and nobles for their extraordinary works ("Wikipedia"). However, having been orphaned so early on, Bach grew up in the home of his brother, Johann Christoph Bach, in Ohrdruf. During his early life, he attended schools of dance, acted as an organist on many occasions, particularly in Arnstadt, Mühlhausen, Weimar, as well as a court music director in Cöthen, and, later in his life, in 1723 to be precise, he became the grand choirmaster of St.Thomas in Leipzig for twenty-seven years and oversaw many events of the school, going so far as to divide the students into four individual choirs and recruiting the talents of the citys professional musicians and university students (pg 1 - 14, Eidam). He continued as a choirmaster until the end of his days, writing various and exquisite pieces that were preformed in front of many audiences, quite a few of which were preformed by those of the four individual choirs he created while he lead them through each piece (pg 1 - 14, Eidam). Though this may not seem as important as the rulings of Kings and Queens at the time, Bach's contribution to his homeland of Germany and its people was mostly certainly memorable and worth consideration. In fact, because of his contr...
Johann Sebastian Bach and Ludwig van Beethoven both flourished in their compositions of classical music; however, their genre of music differed considerably. Bach was a German composer during the Baroque time era of western music which is estimated to have taken place during 1600 to 1750. It was during this time that he composed prolific church organ music which included such works as the Mass in B Minor, much scared choral music, and the St. Matthew Passion, as well as composing over a thousand works in nearly every musical genre except opera. On the other hand, Beethoven was a German composer whom began to emerge during the classical era of western music twenty years after Bach. This era took place throughout the years1750 and 1830. The large quantity of arrangements, over two hundred works in numerous musical genres composed by Beethoven was significantly influenced by his predecessors, onset of deafness, and his highly personal expression of intellectual depth. Such works include the first an...
...ovide that hope for them. “We smile” shows us that they are able to smile from the inside because they know their souls are in Christ’s hands and he is taking on all of their suffering and pain through this. “Tortured souls arise” tells us that they are no longer in control of the hardship they are going through, they have given it to Christ to control.
These tenors represent the full spectrum of emotions and strength in life. It is as if he is discussing god and the life you have been given. It is gentle enough that you often feel strong and powerful but also strong enough to humble you.
In the beginning of the phrase, starting on “But” the cello supports the tenor with “mezzo forte” to capture the urgency feeling, but soon the strings disappear as the tenor finishes this phrasing. This cantata is explicitly biblical for the love and need of God, so the tenor is singing extremely musical during the phrasings of those words. The tenor again crescendos towards the words “great might” then diminish the volume of his voice when he sings “with his own