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Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'), [1] BWV 140, also known as Sleepers Awake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas.
Johann Sebastian Bach based his chorale cantata Wachet auf, ruft uns die Stimme, BWV 140, on the hymn [12] and derived one of the Schübler Chorales, BWV 645, from the cantata's central movement. His son Johann Christoph Friedrich Bach wrote a cantata for a four-part choir, Wachet auf, ruft uns die Stimme.
Most cantatas made reference to the content of the readings and to Lutheran hymns appropriate for the occasion. The melodies of such hymns often appeared in cantatas, for example as in the four-part settings concluding Bach's works, or as a cantus firmus in larger choral movements. Other occasions for church cantatas include weddings and ...
Bach's fourth (Leipzig) cantata cycle, known as the Picander cycle, consists of cantatas performed for the first time from 24 June 1728 (St. John's Day) to 10 July 1729 (fourth Sunday after Trinity), or later in 1729, to a libretto from the printed cycle of 70 cantata texts for 1728–29 by Picander. Later additions to this cycle and Picander ...
"Sleepers Awake", English name for the hymn "Wachet auf, ruft uns die Stimme" (1599) by Philipp Nicolai "Sleepers awake", English name for the chorale cantata Wachet auf, ruft uns die Stimme, BWV 140 (1731), by Johann Sebastian Bach, based on Nicolai's hymn; The Sleeper Awakes (1910), dystopian novel by H. G. Wells about a man who sleeps for ...
The late church cantatas by Johann Sebastian Bach are sacred cantatas he composed after his fourth cycle of 1728–29. Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but the extant cantatas of this period written for occasions of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have ...
The term "cantata" came to be applied almost exclusively to choral works, as distinguished from solo vocal music. In early 19th-century cantatas, the chorus is the vehicle for music more lyric and songlike than in oratorio, not excluding the possibility of a brilliant climax in a fugue as in Ludwig van Beethoven's Der glorreiche Augenblick ...
Some of the secular cantatas are based on music Bach had composed at an earlier date (e.g. some music of the first Brandenburg Concerto was adopted in a secular cantata), and Bach quite often parodied secular cantatas into church music: for instance his Christmas Oratorio opens with music originally written for a secular cantata. [10]
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