Jonathan Stinson Vídeos
compositor, cantante de ópera
- barítono
- Estados Unidos
Última actualización
2024-05-08
Actualizar
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 04:06 - II. Allegro ma non tanto 07:38 - III. Andante 09:54 - IV. Allegro moderato / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 01:59 - II. Allegro 05:43 - III. Andante 10:26 - IV. Allegro / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Vivace 04:56 - II. Adagio 10:39 - III. Allegro / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Maye Dost Charles Sanford Terry Stinson Bach Schweitzer Buxtehude Böhm Johann Gottfried Walther 1999 2003
BWV 601 Herr Christ, der einge Gottes-Sohn [Lord Christ, the only Son of God] (or Herr Gott, nun sei gepreiset [Lord God, now be praised]) Below are the first and last verses of Elisabeth Cruciger's hymn for Epiphany Herr Christ, der einig Gotts Sohn with the English translation of Myles Coverdale. Herr Christ, der ein'ge Gottes-Sohn Vaters in Ewigkeit, aus sein'm Herzen entsprossen, gleichwie geschrieben steht, er is der Morgensterne, sein Glänzen streckt er ferne vor andern Sternen klar. ∘∘∘ Ertöt uns durch dein Güte, erweck uns durch dein Gnad; den alten Menschen kränke, daß der neu' leben mag wohl hie auf dieser Erden, den Sinn und all Begehren und G'danken hab'n zu dir. Christ is the only Sonne of God, The Father Eternall: We have in Jesse founde this rod, God and Man natural! He is the mornynge star; His beames sendeth He out farre Beyonde other starres all. ∘∘∘ Awake us, Lorde, we praye The; Thy Holy Spirite us gave, Which maye oure olde man mortifie, That oure new man maye lyve. So wyll we alwaye thanke The, That shewest us so great mercye, And oure synnes dost forgeve. The same melody was used in the postprandial grace Herr Gott, nun sei gepreiset, the first verse of which is given below with the English translation of Charles Sanford Terry. Herr Gott, nun sei gepreiset, wir sagen frohen Dank, daß du uns Gnad' erwiesen, gegeben Speis' und Trank, dein mildes Herz zu merken, den Glauben uns zu stärken, daß du seist unser Gott. O God in heaven we praise Thee And yield Thee gratitude For all Thy generous bounty, For all our daily food, For all the love showered on us. For all the grace poured on us, By Thee, our loving Lord. According to the chronology of Stinson (1999), this chorale prelude was probably the first to be entered by Bach in the autograph manuscript. Already it shows with beguiling simplicity all the features typical of the Orgelbüchlein preludes. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. The accompaniment is derived from the suspirans pedal motif of three semiquavers (16th notes) followed by two quavers (eighth notes). For Schweitzer (1911b) this particular motif signified "beatific joy", representing either "intimate gladness or blissful adoration." Although the chorale prelude cannot be precisely matched to the words of either hymn, the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God. The motif, which is anticipated and echoed in the seamlessly interwoven inner parts, was already common in chorale preludes of the period. Easy to play with alternating feet, it figured in particular in the preludes of Buxtehude and Böhm as well as an earlier manualiter setting of the same hymn by Bach's cousin, Johann Gottfried Walther. Bach, however, goes beyond the previous models, creating a unique texture in the accompaniment which accelerates, particularly in the pedal, towards the cadences. Already in the opening bar, as Williams (2003) points out, the subtlety of Bach's compositional skills are apparent. The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano. This type of writing—in this case with hidden and understated imitation between the voices, almost in canon, conveying a mood of intimacy—was a new feature introduced by Bach in his Orgelbüchlein. '하나님의 독생자이신 주 예수 그리스도' BWV 601을 클래식 기타 2대로 편곡한 곡입니다. #bach #bwv601 #arrange #guitar
o
- cronología: Compositores (Norteamérica). Cantantes líricos (Norteamérica).
- Índices (por orden alfabético): S...