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The church cantatas of J. S. Bach were designed, composed, and performed to enhance and interpret the message of the Bible to worshippers in the congregations which Bach served. The Lutheran Church of 18th-century Germany appointed specific biblical texts to be read each Sunday and festival day of the year. This series of appointed readings, one from the New Testament letters and the other from one of the four gospels, was the lectionary. The lectionary readings determined the day's theme for the sermon, hymns, organ music, and the cantata. Although Bach clearly indicated the occasion on which most of his cantatas were performed, the readings, and therefore the theme of the day, do not necessarily coincide with the readings and themes of the modern church. The Revised Common Lectionary, in widespread use today among churches in North America, appoints three readings for each Sunday, rotating them in a three-year cycle. For that reason, Bach Through the Year has reassigned the cantatas, as well as the motets, passions, and oratorios, to the Sundays and festivals with whose current readings and themes they most closely correspond. In each commentary, the relationship between a lectionary reading, usually the gospel, and the designated cantata is highlighted. JOHN S. SETTERLUND is an ordained minister of the Evangelical Lutheran Church in America, now retired. He has served as pastor of congregations in South Dakota and Illinois, and as campus pastor at the University of Illinois. A graduate of Luther Theological Seminary, he studied also at Wartburg Theological Seminary under Gordon W. Lathrop and Bach scholar Reuben G. Pirner. Bach Through the Year actually began during the 1985 Bach tercentenary, when the first complete recorded set of Bach's church cantatas was published. Subsequently, alternatives were selected, commentaries written, and adjustments made according to minor changes in the lectionary and the hymnal; finally, listings were added to correlate with the lectionaries of the Lutheran Service Book and Christian Worship: A Lutheran Hymnal, as well as Evangelical Lutheran Worship.
Describes how Johann Sebastian Bach survived the sorrows of his childhood and composed the music the world has come to love.
Johann Sebastian Bach – celebrated pipe organist, court composer and master of sacred music – was also a technical pioneer. Working in Germany in the early eighteenth century, he invented new instruments and carried out experiments in tuning, the effects of which are still with us today. Two hundred years later, a number of extraordinary musicians have utilised the music of Bach to thrilling effect through the art of recording, furthering their own virtuosity and reinventing the composer for our time. In Reinventing Bach, Paul Elie brilliantly blends the stories of modern musicians with a polyphonic account of our most celebrated composer’ s life to create a spellbinding narrative of the changing place of music in our lives. We see the sainted organist Albert Schweitzer playing to a mobile recording unit set up at London’ s Church of All Hallows in order to spread Bach’ s organ works to the world beyond the churches, and Pablo Casals’ s Abbey Road recordings of Bach’ s cello suites transform the middle-class sitting room into a hotbed of existentialism; we watch Leopold Stokowski persuade Walt Disney to feature his own grand orchestrations of Bach in the animated classical-music movie Fantasia – which made Bach the sound of children’ s playtime and Hollywood grandeur alike – and we witness how Glenn Gould’ s Goldberg Variations made Bach the byword for postwar cool. Through the Beatles and Switched-on Bach and Gö del, Escher, Bach – through film, rock music, the Walkman, the CD and up to Yo-Yo Ma and the iPod – Elie shows us how dozens of gifted musicians searched, experimented and collaborated with one another in the service of a composer who emerged as the prototype of the spiritualised, technically savvy artist.
Highlights the life and achievements of the eighteenth-century German composer and musician, and examines the development of his most important compositions.
A tale of passion and obsession from a philosophy professor who learns to play Bach on the piano as an adult. Dan Moller grew up listening to heavy metal in teh Boston suburbs. But one day, something shifted when he dug out his mother's record of The Art of the Fugue, inexplicably wedged between ABBA's greatest hits and Kenny Rogers. Moller was fixated on Bach ever since. In The Way of Bach, he draws us into fresh and often improbably hilarious things about Bach and his music. Did you know the Goldberg Variations contain a song about his mom cooking too much cabbage? Just what is so special about Bach’s music? Why does it continue to resonate even today? What can modern Americans—steeped in pop culture—can learn from European craftsmanship? And, because it is Bach, why do some people see a connection between music and God? By turn witty and though-provoking, Moller infuses The Way of Bach with philosophical considerations about how music and art enable us to contemplate life's biggest questions.
Now available in paperback, this landmark biography was first published in 2000 to mark the 250th anniversary of J. S. Bach's death. Written by a leading Bach scholar, this book presents a new picture of the composer. Christoph Wolff demonstrates the intimate connection between Bach's life and his music, showing how the composer's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher.
Johann Sebastian Bach is one of the unfathomable composers in the history of music. This book explains the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects - and what it can tell us about Bach the man.
'The New Bach Reader' contains a collection of documents intended to bring the composer to life.
This is an account of the actions taken by the residents of Bethlehem, Pennsylvania to create a local amateur society singing the music of J. S.Bach and to develop it into a choir of international importance. Singers, instrumentalists, industrialists, academicians, bankers, and churches acted in community to found and perpetuate a group devoted to sharing the music of Bach locally, nationally, and internationally. While The Bach Choir of Bethlehem performs frequently elsewhere, the annual Bethlehem Bach Festival became and remains a magnet for those who love Bach and want to experience his music excellently performed in historic and sacred surroundings. In order to reach and maintain its premier status, the choir, its conductor, its board, and staff had to be experts in music performance and shifts in audience tastes. They had to be responsive to research in performance practice, and skilled in strategic planning, promotion and fundraising. In recent years they had to become competent in sound recording technology and use of the internet. These attributes are described and analyzed with frequent use of documents and personal anecdotes. Successfully balancing the human actions and desires involved in such a complex enterprise has earned The Bach Choir of Bethlehem the title “A National Treasure” in music and the recognition that it is at the same time a national model for excellence as a cultural non-profit organization. This is a story of how and why - for over a century - inspiring performances of Bach’s music came about and were brought to many thousands of listeners.