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Albert Schweitzer, in his book J. S. Bach, published in 1908 and translated in 1911, still dated the chorale cantatas to 1734 and later. Schweitzer wrote in a short passage about the first movement of Wie schön leuchtet der Morgenstern that Bach's "music converts the text into an expression of mystical exuberance.
In the 20th century Bach's music was performed and recorded by artists specializing in the music of the composer, such as Albert Schweitzer, Helmut Walcha and Karl Richter. With the advent of the historically informed performance practice Bach's music was prominently featured by artists such as Nikolaus Harnoncourt , Gustav Leonhardt and ...
The court chapel at the Schloss in Weimar where Bach was court organist. The organ loft is visible at the top of the picture. The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ — one of them is given in two versions — by Johann Sebastian Bach.
Ludwig Philipp Albert Schweitzer OM (German: [ˈalbɛʁt ˈʃvaɪtsɐ] ⓘ; 14 January 1875 – 4 September 1965) was a German and French polymath from Alsace.He was a theologian, organist, musicologist, writer, humanitarian, philosopher, and physician.
Schweitzer, Albert: 1935 All Hallows-by-the-Tower, London Columbia Albert Schweitzer plays Bach [a] No. 6 (9:04) Stokowski, Leopold Philadelphia Orchestra: 1940 Academy of Music, Philadelphia Disney Walt Disney's Fantasia – Leopold Stokowski and the Philadelphia Orchestra: Remastered Original Soundtrack Edition (1990) CD 1 (of 2)
• A Garland for Linda • A German Requiem (Brahms) • A German Requiem discography • A Handshake in the Dark • A Hero's Song • A Hundred Hardanger Tunes • A Hymn of St Columba • A Hymn to God the Father • À la musique • A la Verge Santíssima: Dues Lletretes a Una Veu • A Land of Pure Delight • A Little Suite for ...
The extant autographs of Bach's Magnificat show three versions of his Magnificat: E ♭ major version without Christmas interpolations, which is how it was probably first performed, [1] at least the autograph of the E ♭ major version of the Magnificat (BWV 243a) suggests that Bach intended to perform the first version of his Magnificat also without the laudes, depending on circumstances, for ...
Particularly striking examples of such judgements were produced by noted Bach biographers Philipp Spitta and Albert Schweitzer, who criticized Telemann's cantatas and then praised works they thought were composed by Bach, but which were composed by Telemann. [13]
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