Free sheet music of Johann Sebastian Bach Herz und Mund und Tat und Leben (Jesu, Joy of Man's Desiring), BWV 147. Jesu, Joy of Man's Desiring (Jesus bleibet meine Freude) (Choral of the cantata Herz und Mund und Tat und Leben, BWV 147.) Bach, Johann Sebastian Organ solo 1 PDF / 1 MP3. Trascrizione da Concerto per Grande Organo (Aria dalla. Jump to For Organ (Carmona) - PDF typeset by arranger wrshannon (2012/3/17). Extract partsDownload 4 files as ZIP fileRequest PDF processingFile.
One of the two churches where Bach composed and performed church cantatas almost weekly from 1723 to 1726 Vocal Typically Bach employs, and soloists and a four-part choir, also. He sometimes assigns the voice parts to the dramatic situation, for example soprano for innocence or alto for motherly feelings. The bass is often the, the voice of Jesus, when Jesus is quoted directly, as in, or indirectly, as in.
In the absence of clear documentary evidence, there are different options as to how many singers to deploy per part in choral sections. This is reflected in the recordings discussed below., for example, is a conductor who has and who favours a choir with four singers per part. On the other hand, some modern performances and recordings use one voice per part, although Bach would have had more singers available at, for example, while the space in the in Weimar was limited. One size of choir probably does not fit all the cantatas. Instrumental The is based on string instruments (, ) and, typically played by, (an octave lower).
A continuous bass is the rule in Baroque music; its absence is worth mentioning and has a reason, such as describing fragility. The specific character of a cantata or a single movement is rather defined by wind instruments, such as,. In movements with winds, a usually joins the continuo group. Festive occasions call for richer instrumentation. Some instruments also carry symbolic meaning such as a trumpet, the royal instrument of the, for divine majesty, and three trumpets for the. In an aria of BWV 172, addressing the Heiligste Dreifaltigkeit (Most holy Trinity), the bass is accompanied only by three trumpets and timpani.
In many arias Bach uses instruments, which correspond with the singer as an equal partner. These instrumental parts are frequently set in virtuoso repetitive patterns called. Instruments include, in addition to the ones mentioned, , (a smaller cello), (slide trumpet),. In his early compositions Bach also used instruments that had become old-fashioned, such as. Alto recorders (flauti dolci) are sometimes used in connection with death and mourning as in.
Solo cantata Some cantatas are composed for only one solo singer ( Solokantate), as for soprano, sometimes concluded by a chorale, as in for bass. Dialogue cantata Some cantatas are structured as a dialogue, mostly for Jesus and the Soul (bass and soprano), set like miniature operas. Bach titled them for example Concerto in Dialogo, concerto in dialogue. An early example is (1714).
He composed four such works in his third annual cycle, (1725), (both 1726), and (1727). Text of Bach's sacred cantatas Within the liturgy, certain readings from the were prescribed for every event during the; specifically, it was expected that an Epistel from an and Evangelium from a would be read. Music was expected for all Sundays and Holidays except the quiet times ( ) of and; the cantatas were supposed to reflect the readings. Many opening movements are based on quotations from the Bible, such as, from. Ideally, a cantata text started with an quotation related to the readings, and reflected both the Epistle and the Gospel, as in the exemplary.
Most of the solo movements are based on poetry of contemporary writers, such as court poet in Weimar, or or in Leipzig, with whom Bach collaborated. The final words were usually a stanza from a. Bach's are based exclusively on one chorale, for example the early, and most cantatas of his second annual cycle in Leipzig.
Periods of cantata composition. Main article: After Trinity of 1724 he started a second annual cycle of mainly. The chorale was typically the chorale prescribed for that week ( Hauptlied or Wochenlied). These cantatas were performed even after his death, according to probably because the well-known hymns were appealing to the audience. 1724:. 1725:.
The new cantatas Bach composed for Easter of 1725 and afterwards were not chorale cantatas:. 1725: BWV 249, early version (later versions known as the but the 1725 version was a cantata). Two of these, BWV 128 and BWV 68, both starting with a chorale fantasia, are sometimes seen as included in the chorale cantata cycle. Liturgical year from Advent 1725 to the last Sunday after Trinity 1726 (includes 18 cantatas by (JLB)):.
Works Signature Johann Sebastian Bach (31 March 21 March 1685 – 28 July 1750) was a German composer and musician of the. He is known for instrumental compositions such as the and the as well as for vocal music such as the and the. Since the 19th-century he has been generally regarded as one of the greatest composers of all time. The already counted several composers when Johann Sebastian was born as the last child of a city musician in. After becoming an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical development in. From 1703 he was back in, working as a musician for churches in and and, for longer stretches of time, at courts in —where he expanded his repertoire for the —and —where he was mostly engaged with.
From 1723 he was employed as ( at ) in. He composed music for the principal churches of the city, and for its university's student ensemble.
From 1726 some of his and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by King in 1736.
In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750. Bach enriched established German styles through his mastery of, and organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Include, both. He often adopted, not only in his larger vocal works, but for instance also in. He wrote extensively. He, for instance and, and, as well as.
The genres of. Throughout the 18th century Bach was mostly renowned as an, while his keyboard music, such as, was appreciated for its didactic qualities. The 19th century saw the publication of some major, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude, including for instance the, and of recordings, for instance three different box sets with complete performances of the composer's works marking the 250th anniversary of his death. Places where Bach lived Bach was born in 1685 in, in the, into a great musical family. His father, was the director of the town musicians, and all of his uncles were professional musicians.
His father probably taught him to play the and, and his brother taught him the and exposed him to much contemporary music. Apparently at his own initiative, Bach attended in for two years.
After graduating he held several musical posts across Germany: he served as (director of music) to, and as in Leipzig, a position of music director at the main Lutheran churches and educator at the. He received the title of 'Royal Court Composer' from in 1736. Bach's health and vision declined in 1749, and he died on 28 July 1750. Childhood (1685–1703). See also: Another characteristic of Bach's style is his extensive use of, as opposed to the used, for instance, in his four-part Chorale settings.
Bach's Canons, and especially his Fugues, are most characteristic of this style, which Bach did not invent, but his contribution to it was so fundamental that he defined it to a large extent. Fugues are as characteristic to Bach's style, as, for instance, the is characteristic to the composers of the. Not only these strictly contrapuntal compositions, but most of Bach's music is characterised by distinct melodic lines for each of the voices, where the chords formed by the notes sounding at a given point follow the rules of four-part harmony., Bach's first biographer, gives this description of this feature of Bach's music, that sets it apart from most other music: If the language of music is merely the utterance of a melodic line, a simple sequence of musical notes, it can justly be accused of poverty. The addition of a Bass puts it upon a harmonic foundation and clarifies it, but defines rather than gives it added richness. A melody so accompanied—even though all the notes are not those of the true Bass—or treated with simple embellishments in the upper parts, or with simple chords, used to be called 'homophony.'
But it is a very different thing when two melodies are so interwoven that they converse together like two persons upon a footing of pleasant equality. In the first case the accompaniment is subordinate, and serves merely to support the first or principal part.
In the second case the two parts are not similarly related. New melodic combinations spring from their interweaving, out of which new forms of musical expression emerge. If more parts are interwoven in the same free and independent manner, the apparatus of language is correspondingly enlarged, and becomes practically inexhaustible if, in addition, varieties of form and rhythm are introduced. Hence harmony becomes no longer a mere accompaniment of melody, but rather a potent agency for augmenting the richness and expressiveness of musical conversation. To serve that end a simple accompaniment will not suffice. True harmony is the interweaving of several melodies, which emerge now in the upper, now in the middle, and now in the lower parts. From about the year 1720, when he was thirty-five, until his death in 1750, Bach's harmony consists in this melodic interweaving of independent melodies, so perfect in their union that each part seems to constitute the true melody.
Herein Bach excels all the composers in the world. At least, I have found no one to equal him in music known to me. Even in his four-part writing we can, not infrequently, leave out the upper and lower parts and still find the middle parts melodious and agreeable. Structure, lyrics Bach devoted more attention than his contemporaries to the structure of compositions. This can be seen in minor adjustments he made when adopting someone else's composition, for example, his earliest version of the, where he enhances scene transitions, and in the architecture of his own compositions such as. In the last years of his life, Bach would revise several of his prior compositions, often the recasting of such previously composed music in an enhanced structure being the most visible change, as in the.
Bach's known preoccupation with structure led, peaking around the 1970s, to various numerological analyses of his compositions, although many such over-interpretations were later rejected, especially when wandering off in symbolism-ridden hermeneutics. The, that is the lyrics, for his vocal compositions played an important role for Bach: he sought collaboration with various text authors for his cantatas and major vocal compositions, eventually writing or adapting such texts himself to make them fit in the structure of the composition he was designing, when he could not lean on the talents of other text authors. His collaboration with for the St Matthew Passion libretto is best known, but there was a similar process to come to a multi-layered structure for his St John Passion libretto a few years earlier. See also: Bach also wrote secular cantatas, for instance for members of the Royal-Polish and Prince-electoral Saxonian family (e.g.
), or other public or private occasions (e.g. The text of these cantatas was occasionally in dialect (e.g. ) or in Italian (e.g. Many of the secular cantatas went lost, but for some of these the text and the occasion are known, for instance when Picander later published their libretto (e.g. Some of the secular cantatas had a plot carried by mythological figures of Greek antiquity (e.g.
), others were almost miniature operas (e.g. A cappella music Bach's a cappella music includes motets and chorale harmonisations. See also: and Bach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six (BWV 1001–1006) and his six (BWV 1007–1012), are widely considered among the most profound in the repertoire. He wrote sonatas for a solo instrument such as the viola de gamba accompanied by harpsichord or continuo, as well as trio sonatas (two instruments and continuo). The Musical Offering and The Art of Fugue are late contrapuntal works containing pieces for unspecified (combinations of) instruments. Violin concertos Surviving works in the concerto form include two violin concertos ( in A minor and in E major) and a concerto for two violins in D minor, often referred to as Bach's 'double' concerto.
Brandenburg Concertos. See also: In his early youth, Bach copied pieces by other composers to learn from them.
Later, he copied and arranged music for performance and/or as study material for his pupils. Some of these pieces, like ' (not even copied by Bach but by Anna Magdalena), became famous before being dissociated with Bach. Bach copied and arranged Italian masters such as Vivaldi (e.g. )and , French masters such as , and closer to home various German masters, including Telemann (e.g. =) and Handel , and music from members of his own family.
Then he also often copied and arranged his own music (e.g. Movements from cantatas for his short masses ), as likewise his music was copied and arranged by others.
Some of these arrangements, like the late 19th-century ', helped in popularising Bach's music. Sometimes who copied whom is not clear. For instance, Forkel mentions a Mass for double chorus among the works composed by Bach. The work was published and performed in the early 19th century, and although a score partially in Bach's handwriting exists, the work was later considered spurious. In 1950, the setup of the Bach-Werke-Verzeichnis was to keep such works out of the main catalogue: if there was a strong association with Bach they could be listed in its appendix (in German: Anhang, abbreviated as Anh.), so, for instance, the aforementioned Mass for double chorus became. This was however far from the end of attribution issues—for instance, was later re-attributed to.
For other works, Bach's authorship was put in doubt without a generally accepted answer to the question whether or not he composed it: the best known organ composition in the BWV catalogue, the, was indicated as one of these uncertain works in the late 20th century. Bach's grave and altar in the Throughout the 18th century, the appreciation of Bach's music was mostly limited to distinguished connoisseurs. The 19th century started with the first biography of the composer being published and ended with the completion of the publication of all of Bach's known works by the. A had started from 's performance of the in 1829. Soon after that performance, Bach started to become regarded as one of the greatest composers of all times, if not the greatest, a reputation he has retained ever since. A new extensive Bach biography was published in the second half of the 19th century.
In the 20th century, Bach's music was widely performed and recorded, while the, among others, published research on the composer. Modern adaptations of Bach's music contributed greatly to his popularisation in the second half of the 20th century. Among these were the ' versions of Bach pieces (for instance, the Air from, or the Wachet auf. Chorale prelude) and ' 1968, which used the.
By the end of the 20th century, more classical performers were gradually moving away from the performance style and instrumentation that were established in the romantic era: they started to perform Bach's music on, studied and practised playing techniques and tempi as established in his time, and reduced the size of instrumental ensembles and choirs to what he would have employed. The, used by the composer in his own compositions, was used in dozens of tributes to the composer from the 19th century to the 21st.
In the 21st century, the complete extant output of the composer became available on-line, with several websites exclusively dedicated to him. 18th century In his own time, Bach's reputation equalled those of Telemann, and Handel. During his life, Bach received public recognition, such as the title of court composer by, and the appreciation he was shown. Such highly placed appreciation contrasted with the humiliations he had to cope with, for instance in his hometown of Leipzig. Also in the contemporary press, Bach had his detractors, such as, suggesting he write less complex music, and his supporters such as.
After his death, Bach's reputation as a composer at first declined: his work was regarded as old-fashioned compared to the emerging style. Initially, he was remembered more as a virtuoso player of the organ and as a teacher. The bulk of the music that had been, at least the part that was remembered, was for the organ and the harpsichord. Thus, his reputation as a composer was initially mostly limited to his keyboard music, and that even fairly limited to its value in music education. Boyd, Malcolm (2000). David, Hans T.; & (1998). The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents.
Eidam, Klaus (2001). The True Life of Johann Sebastian Bach., translated by (1920). New York: Harcourt, Brace and Howe; London: Constable. Bach: Music in the Castle of Heaven. New York: Alfred O. Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach. Geck, Martin, translated by Bell, Anthea (2003).
Haus Publishing. Geck, Martin (2006). Johann Sebastian Bach: Life and Work. Johann Sebastian Bach: The Culmination of an Era.
Republication of the 1952 Dover edition (with 'Bibliographical Note' by Saul Novack). (1899a). Williams, Peter (2007). Bach: A Life in Music.
Williams, Peter (2003). The Life of Bach. Bach: Essays on his Life and Music. Cambridge, Massachusetts:. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. Oxford:., second edition, 2013, W.
Norton, New York and London, pbk. Applegate, Celia (2014). Bach in Berlin: Nation and Culture in Mendelssohn's revival of the St.
Matthew Passion. Ithaca, New York:. Baron, Carol K. Bach's Changing World: Voices in the Community. Rochester, New York:.
Boyd, Malcolm, Ed., Oxford Composer Companions: J. Bach, Oxford University Press, 1999. Bach's World. Scarborough, Ontario:. Baroque Music: Style and Performance: A Handbook.
N.B.: First published in 1867; superseded, for scholarly purposes, by 's complete thematic catalog, but useful as a handy reference tool for only the instrumental works of Bach and as a partial alternative to Schmieder's work. Herl, Joseph (2004). Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict. Herz, Gerhard (1985). Essays on J.S.
Ann Arbor, Michigan: UMI Research Press. The Creative Development of Johann Sebastian Bach. Kerst, Friedrich (1904).
Berlin: Schuster & Loeffler. Kupferberg, Herbert (1985). Basically Bach: A 300th Birthday Celebration.
Leaver, Robin A. Luther's Liturgical Music.
Grand Rapids, Michigan:. Miles, Russell H.
Johann Sebastian Bach: An Introduction to His Life and Works. Englewood Cliffs, N.J.:. Beethoven: the Universal Composer.
(2014) 1907. The Aesthetic of Johann Sebastian Bach. Lanham, Maryland:. Johann Sebastian Bach: Play by Play. San Francisco:.
Schenk, Erich; Winston, Richard & Winston, Clara (1959). Mozart and his times. In 1906, VII (3). Schulenberg, David (2006). The Keyboard Music of J.S. New York: Whittlesey House. Stauffer, George B.
& May, Ernest (1986). Bach as Organist: His Instruments, Music, and Performance Practices. Van Til, Marian (2007). George Frideric Handel: A Music Lover's Guide to His Life, His Faith & the Development of Messiah and His Other Oratorios. Youngstown, New York: WordPower Publishing.
The New Grove Bach Family. Wolff, Christoph, ed. The World of the Bach Cantatas: Johann Sebastian Bach's Early Sacred Cantatas. Wolff, Christoph, ed.
(1998), The New Bach Reader: a life of Johann Sebastian Bach in Letters and Documents, W. Norton; 1945 and 1972 eds.
David and Arthur Mendel. External links. at., by Jan Hanford—extensive information on Bach and his works; database of recordings and user reviews., by Yo Tomita of Queen's University Belfast—especially useful to scholars., by Aryeh Oron—information on the cantatas as well as other works. at the project. at. Scores.
of Johann Sebastian Bach from Cantorion.org. in the (ChoralWiki). at the (IMSLP)—the Bach-Gesellschaft-Ausgabe volumes split up into individual works, plus other editions Recordings. website with a growing number of recordings by the and guest musicians. performed by on German Baroque organs.