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According to the obituary published by Lorenz Christoph Mizler, Stölzel would have written around fourteen Passions and Christmas oratorios. [222] Stölzel's librettos for his Passions and oratorios approach the cantata format: they are reflective in nature, and lack the dramatic-narrative component of, for instance, a sung Gospel reading. [223]
From the first Sunday after Trinity 1735 to Trinity Sunday the next year Bach probably performed Stölzel's entire String-Music cantata cycle in Leipzig's churches. Text booklets containing Schmolck's librettos and the chorales Stölzel had added to his settings of these librettos, were printed for the Leipzig church services in that period.
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 ...
He performed Stölzel's Ein Lämmlein geht und trägt die Schuld on Good Friday 23 April 1734, and likely Stölzel's entire String-Music cantata cycle from 1735 to 1736. [ 6 ] [ 7 ] [ 29 ] [ 30 ] Around the same time, that is, likely somewhere between 1734 and 1740, Anna Magdalena Bach entered a version for voice and continuo of " Bist du bei ...
Stölzel's Passion oratorio is structured as a succession of cantata-like Betrachtungen (contemplations). [13] [14] Typical for Stölzel's oratorios, the text of Ein Lämmlein geht und trägt die Schuld is lyrical and meditative, rather than carried by a dramatic narrative, such as a Bible extract.
Die Elenden sollen essen, BWV 75 (30 May 1723; first cantata of Bach's first cantata cycle) O Ewigkeit, du Donnerwort, BWV 20 (chorale cantata, 11 June 1724; first cantata of the chorale cantata cycle) Brich dem Hungrigen dein Brot, BWV 39 (23 June 1726) Gottfried Heinrich Stölzel: [15] Wohl zu tun und mitzuteilen (1738) [34] [35] [186]
A church cantata or sacred cantata is a cantata intended to be performed during Christian liturgy. The genre was particularly popular in 18th-century Lutheran Germany, with many composers writing an extensive output: Stölzel , Telemann , Graupner and Krieger each wrote nearly or more than a thousand.
A Christmas cantata or Nativity cantata is a cantata, music for voice or voices in several movements, for Christmas.The importance of the feast inspired many composers to write cantatas for the occasion, some designed to be performed in church services, others for concert or secular celebration.