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Gesù bambino is an Italian Christmas carol composed by Pietro Yon in 1917. The melody was used by Frederick H. Martens in his English language carol "When Blossoms Flowered 'mid the Snows". The melody and lyrics of the chorus are derived from the chorus of "Adeste Fideles" (O Come All Ye Faithful).
Pietro Yon with Charles M. Courboin. In the spring of 1907, Father John B. Young, pastor of St. Francis Xavier Church in Manhattan, was in Rome on Vatican business and additionally to seek out a replacement for his organist Gaston Dethier, who was leaving to pursue a concert career.
IMSLP logo (2007–2015) The blue letter featured in Petrucci Music Library logo, used in 2007–2015, was based on the first printed book of music, the Harmonice Musices Odhecaton, published by Ottaviano Petrucci in 1501. [5] From 2007 to 2015, the IMSLP / Petrucci Music Library used a logo based on a score.
The lyrics tell the story of a man, nicknamed "Gesù Bambino" in spite of his well-known vices, who was born from the brief relationship between an American soldier, temporarily in Italy because of World War II, and an ingenous 16-year-old girl who soon left him an orphan. [2] [3] [4]
Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.
The St Matthew Passion can be divided in scenes or "stations" that follow the dramatic action of the Gospel account in different locations. [3] Whatever the chosen scene division (none of them indicated by the composer in the score), scenes end on an aria, a chorus, or in the midst of a Gospel text section.
Five of the eleven variations require an organ with pedals. The melody of the original hymn is usually present in the soprano part. Each variation is developed based on a rhythmic motif or theme. [2] Greater descriptions of the widely varying styles of these variations are written by Philipp Spitta [1] and by Stainton de B. Taylor. [3]
Bach structured the cantata in six movements, framing alternating recitatives and arias by an opening chorale fantasia and a closing four-part chorale. [7] He scored it for soprano, alto, tenor and bass soloists, a four-part choir, and an ensemble of Baroque instruments: horn (Co) or (later) trombone to enforce the hymn tune, flauto traverso (Ft), flauto piccolo (Fp) or (later) violino piccolo ...