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Gottfried Heinrich Stölzel (13 January 1690 – 27 November 1749) was a German composer of the Baroque era. Biography. Early 18th-century manuscript copy of the " ...
Gottfried Heinrich Stölzel (1690–1749) was a baroque composer who primarily worked in Gotha. He was a very prolific composer whose output includes numerous cantatas and instrumental music. Cantatas
Bist du bei mir, geh ich mit Freuden" (If you are with me, I go with joy) is an aria from Gottfried Heinrich Stölzel's opera Diomedes, which was first staged on 16 November 1718. The aria is best known as " Bist du bei mir ," BWV 508, a version for voice and continuo found as No. 25 in the 1725 Notebook for Anna Magdalena Bach .
First page of Gottfried Heinrich Stölzel's Ein Lämmlein geht und trägt die Schuld, from a score preserved in Berlin. [1]Ein Lämmlein geht und trägt die Schuld, also known by the title of its earliest extant printed libretto, Die leidende und am Creutz sterbende Liebe Jesu, is a Passion oratorio by Gottfried Heinrich Stölzel, composed in 1720.
Pages in category "Compositions by Gottfried Heinrich Stölzel" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes. *
In 1720, Gottfried Heinrich Stölzel composed a meditation of the stations of the Cross as a Passion oratorio which he titled Die leidende und am Creutz sterbende Liebe Jesu (The love of Jesus which suffered and died on the Cross), which is also known by its incipit, Ein Lämmlein geht und trägt die Schuld.
Gottfried Heinrich Stölzel (1690–1749) Carlo Tessarini (1690–1766) Francesco Maria Veracini (1690–1768) Leonardo Vinci (c. 1690–1730) Jean-Baptiste Niel (Nieil or Nielle) (1690–1775) Robert Woodcock (c. 1690 – 1728) Francesco Feo (1691–1761) Jan Francisci (1691–1758) Conrad Friedrich Hurlebusch (1691–1765) Louis Homet (1691 ...
Bekennen will ich seinen Namen (I shall acknowledge His name), BWV 200, is an arrangement by Johann Sebastian Bach of an aria from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. He scored it for alto, two violins and continuo, possibly as part of a cantata for the feast of Purification. He ...