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A Message Came to A Maiden Young [1] Accept Almighty Father; Adeste Fideles; Adoramus te; Adoro te devote; Agnus Dei; All Glory, Laud and Honour; All of seeing, all of hearing; Alleluia! Alleluia! Praise the Lord; Alleluia! Alleluia! Sing a New Song to the Lord; Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High ...
Secular cantata Verjaget, zerstreuet, zerrüttet, ihr Sterne a.k.a. Die Feier des Genius (dramma per musica; birthday of Joachim Friedrich von Flemming ; music lost but in part reconstructable) I/39 after BWV 249.1/1–/3, /5, /7, /9, /11; text by Picander: 00319: 11 4. 1738-05-15 Oratorio Lobet Gott in seinen Reichen (Ascension Oratorio ...
Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.
The Mass (Latin: missa) is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass.
List of Catholic Church musicians is a list of people who perform or compose Catholic music, a branch of Christian music.Names should be limited to those whose Catholicism affected their music and should preferably only include those musicians whose works have been performed liturgically in a Catholic service, or who perform specifically in a Catholic religious context.
From the early 19th century there was a renewed attention for Bach and his music: his Latin church music, including BWV Anh. 167 (published as a composition by Bach in 1805), the Magnificat (published in 1811), BWV 234 (published in 1818) and the Mass in B minor (heralded as "the greatest musical art work of all times and nations" in 1818 ...
The St Mark Passion (German: Markus-Passion), BWV 247, is a lost Passion setting by Johann Sebastian Bach, first performed in Leipzig on Good Friday, 23 March 1731. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed.
[5] [6] The initial four stanzas with the questions are in Jesus' voice, and the fifth stanza is the singer's response to them. [1] The hymn is based on Mark 1:16–20 and alludes to Jesus calling his disciples to follow him. [5] C. Michael Hawn calls it a prophetic Christian hymn and mentioned that it contains words uncommon to other hymns. [2]