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A Choral Worship Cantata in SATB with SATB Soli voicing, composed by Johann Sebastian Bach.
A Choral Worship Cantata in SATB with SATB Soli voicing, composed by Johann Sebastian Bach.
Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.
This Companion covers many diverse aspects of brass instruments and in such detail. It provides an overview of the history of brass instruments, and their technical and musical development. Although the greatest part of the volume is devoted to the western art music tradition, with chapters covering topics from the medieval to the contemporary periods, there are important contributions on the ancient world, non-western music, vernacular and popular traditions and the rise of jazz. Despite the breadth of its narrative, the book is rich in detail, with an extensive glossary and bibliography. The editors are two of the most respected names in the world of brass performance and scholarship, and the list of contributors includes the names of many of the world's most prestigious scholars and performers on brass instruments.
In 1714, the 29 year-old Johann Sebastian Bach was promoted to the position of concertmaster at the ducal court of Weimar. This post required him for the first time in his already established career to produce a regular stream of church cantatas-one cantata every four weeks. Among the most significant works of this period is Ich hatte viel Bekümmernis in meinem Herzen (Cantata 21). Generally known in English as "I had much affliction," Cantata 21 draws from several psalms and the Book of Revelations and offers a depiction of the spiritual ascent of the soul from intense tribulation to joy and exaltation. Although widely performed and loved by musicians, Cantata 21 has endured much criticism from scholars and critics who claim that the piece lacks organizational clarity and stylistic coherence. In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole. Drawing on a wide range of Lutheran theological writing, Chafe shows that Cantata 21 reaches beyond the scope of the individual liturgical occasion to voice a breadth of meaning that encompasses much of the core of Lutheran thought. Chafe artfully demonstrates that instead of simply presenting a musical depiction of the soul's journey from sorrow to bliss, Cantata 21 expresses the various stages of God's revelation and their impact on the believing soul. As a result, Chafe reveals that Cantata 21 has a formal design that mirrors Lutheran belief in unfolding revelation, with the final movement representing the work's "crown"--the goal toward which all of the earlier movements are directed. Complete with full text translations of the cantata and the liturgical readings that would have accompanied it at the first performance, Tears into Wine is a monumental book that is ideally suited for Bach scholars and students, as well as those generally interested in the relationship between theology and music.