Christoph Nichelmann Vidéos
compositeur allemand
- clavecin
- royaume de Prusse
- compositeur ou compositrice, pianiste, claveciniste
Dernière mise à jour
2024-06-01
Actualiser
Johann Sebastian Bach Hofmann Christoph Nichelmann Heiden Schatz Sandrine Piau Bogna Bartosz James Gilchrist Mertens Koopman Philipp Nicolai Amsterdam Baroque Orchestra 1714 1724 1731 2005
J. S. Bach – Kantate BWV 36 „Schwingt freudig euch empor“ "Schwingt freudig euch empor" (BWV 36) ist eine Kirchenkantate von Johann Sebastian Bach. Er komponierte sie in Leipzig für den 1. Advent und führte sie am 2. Dezember 1731 erstmals auf. Bach schrieb die Kantate 1731 in Leipzig für den 1. Advent, den Beginn des lutherischen Kirchenjahres. Dieser Sonntag war in Leipzig der einzige Adventssonntag, an dem eine Kantate aufgeführt wurde, an den weiteren wurde tempus clausum eingehalten. Bach arbeitete die Kantate zu einer Kirchenkantate um, indem er vier ihrer Sätze kombinierte und durch die letzte Strophe von Philipp Nicolais Kirchenlied Wie schön leuchtet der Morgenstern abschloss. Der Librettist dieser Bearbeitung, die sich eng an den Text der weltlichen Kantate anlehnt, ohne näher auf die Lesungen einzugehen, ist unbekannt. Klaus Hofmann bemerkt, dass der jubelnde Eingangschor gut zum Evangelium vom Einzug Jesu in Jerusalem passt, das die „jubelnden Hosianna-Rufe des Volkes“ erwähnt. Das Datum der Bearbeitung ist ebenfalls nicht bekannt, da sie nur in einer Abschrift von Bachs Schüler Christoph Nichelmann erhalten ist. 1731 schließlich nahm Bach eine grundlegende Umarbeitung vor und schrieb eine neue Partitur. Er wechselte die Arien nicht mit Rezitativen ab, sondern mit drei weiteren Kirchenliedstrophen, die er Martin Luthers Nun komm, der Heiden Heiland entnahm. Mit diesem Hauptlied für den 1. Advent hatte er bereits 1714 seine Kantate zum gleichen Anlass begonnen, Nun komm, der Heiden Heiland, BWV 61, und in seinem Jahrgang von Choralkantaten 1724 hatte er es der Kantate Nun komm, der Heiden Heiland, BWV 62, zugrunde gelegt. Die Liedstrophen „verankern nun gewissermaßen die Kantate fest auf adventlichem Grund, geben ihr liturgische Eindeutigkeit und einen klaren inhaltlichen Bezug“. Bach legte die neue Kantate zweiteilig an, vor und nach der Predigt zu musizieren. Er beschloss Teil I mit einer Strophe von Nicolais Lied. Im textlichen Zusammenhang wählte er die sechste Strophe. Teil II beschloss er mit der letzten Strophe des Lutherliedes. Bach führte die Kantate am 2. Dezember 1731 erstmals auf, eine Woche nach Wachet auf, ruft uns die Stimme, BWV 140. Die Kantate ist gesetzt für vier Solisten (Sopran, Alt, Tenor und Bass), vierstimmigen Chor, zwei Oboen d’amore, zwei Violinen, Viola und Basso continuo. Teil I 1. Coro: Schwingt freudig euch empor 2. Choral (Sopran, Alt): Nun komm, der Heiden Heiland 3. Aria (Tenor): Die Liebe zieht mit sanften Schritten 4. Choral: Zwingt die Saiten in Cythara Teil II 5. Aria (Bass): Willkommen, werter Schatz! 6. Choral (Tenor): Der du bist dem Vater gleich 7. Aria (Sopran): Auch mit gedämpften, schwachen Stimmen 8. Choral: Lob sei Gott dem Vater ton Ausführende: Sopran: Sandrine Piau; Alt: Bogna Bartosz; Tenor: James Gilchrist; Bass: Klaus Mertens Amsterdam Baroque Orchestra & Choir Conductor: Ton Koopman Aufnahme von 2005 / J. S. Bach - Cantata BWV 36 „Schwingt freudig euch empor“ ("Swing up joyfully to you") "Swing up joyfully" (BWV 36) is a church cantata by Johann Sebastian Bach. He composed them in Leipzig for the first Advent and performed them on 2 December 1731 for the first time. Bach wrote the cantata in Leipzig in 1731 for the first Advent, the beginning of the Lutheran church year. This Sunday was the only Advent Sunday in Leipzig on which a cantata was performed, at the other tempus clausum was respected. Bach transformed the cantata into a cantata of the church by combining four of their movements and concluding with the final stanza of Philipp Nicolai's hymn How beautifully lit the morning star. The librettist of this arrangement, which closely follows the text of the secular cantata, without going into more detail on the readings, is unknown. Klaus Hofmann notes that the jubilant entrance choir fits well with the gospel of the entry of Jesus into Jerusalem, which mentions the "cheering Hosanna calls of the people." The date of the processing is also not known, as it is preserved only in a copy of Bach's pupil Christoph Nichelmann.
Bach Butt Johann Friedrich Agricola Agricola Christoph Nichelmann Felix Mendelssohn Johannes Brahms André Isoir Schmidt Sing Akademie Gewandhaus Leipzig Fulda Symphonic Orchestra Gewandhaus 1740 1835 1837 1838 1843 1863 1993
Learn to play the songs you love: (http•••) Bach scholarship generally assumes this harpsichord concerto is based on a lost violin concerto by Bach, because, as John Butt writes: "it contains many passages suggestive of string-crossing and of figuration based around open strings." Butt adds: "if this is indeed the case, it [was] Bach's most virtuoso violin concerto," which is "generally assumed to have been a very early concerto." Nonetheless, both Butt and Peter Wollny have suggested the possibility that there was no violin original, and instead that, to quote Wollny, "one cannot but conclude that the work was conceived from the outset for keyboard instrument ... many features of this composition – including the repeated intrusion of the solo part into the tutti sections – can only be explained if one starts from the fundamental precedence of the keyboard instrument." Wollny qualifies the violin concerto reconstruction attempts as unconvincing. The concerto was copied a few times in the 18th century, for instance by Johann Friedrich Agricola around 1740, and by Christoph Nichelmann and an unknown scribe in the early 1750s. In the first decade of the 19th century, some 15 years before the Bach Revival, it was publicly performed by the Berlin Sing-Akademie. In 1835 Felix Mendelssohn played the concerto in his first year as director of the Gewandhaus in Leipzig. The Gewandhaus saw performances of the concerto in 1837, 1843 and 1863. Johannes Brahms wrote a cadenza for it. Its first publication was in 1838 by the Kistner Publishing House. Performances with the solo part played on the piano continued in the 20th century, however with the rise of the historically informed performance practice from the 1960s performances and recordings with harpsichord became more standard again. Other versions of the concerto are occasionally recorded, for instance in 1993 André Isoir played the organ concerto version on a recording realised by Radio France. Performed by: Fulda Symphonic Orchestra Piano – Johannes Volker Schmidt Conductor – Simon Schindler
Johann Sebastian Bach Michel Rondeau Rondeau Soar Heiden Rivinius Hofmann Christoph Nichelmann John Eliot Gardiner 1714 1724 1725 1726 1731 1735
Johann Sebastian Bach composed the church cantata Schwingt freudig euch empor (Soar joyfully upwards), BWV 36, in Leipzig in 1731 for the first Sunday in Advent. He drew on material from previous congratulatory cantatas, beginning with Schwingt freudig euch empor, BWV 36c (1725). The Gospel for the Sunday was the Entry into Jerusalem, thus the mood of the secular work matched "the people's jubilant shouts of Hosanna". In a unique structure in Bach's cantatas, he interpolated four movements derived from the former works with four stanzas from two important Advent hymns, to add liturgical focus, three from Luther's "Nun komm, der Heiden Heiland" and one from Nicolai's "Wie schön leuchtet der Morgenstern". He first performed the cantata in its final form of two parts, eight movements, on 2 December 1731. Bach composed the cantata in 1731 in Leipzig, for the First Sunday of Advent, the beginning of the Lutheran church year.[2] In Leipzig this was the only Sunday in Advent when a cantata was performed, whereas tempus clausum (quiet time) was observed on the other three Sundays. The prescribed readings for the Sunday were from the Epistle to the Romans, "night is advanced, day will come" (Romans 13:11–14), and from the Gospel of Matthew, the Entry into Jerusalem (Matthew 21:1–9). Bach based parts of the music on a homage cantata of the same name, Schwingt freudig euch empor, BWV 36c, which he had composed for the birthday of a Leipzig University teacher and first performed in spring 1725. The text was probably written by Picander, who modified it to a congratulatory cantata for Countess Charlotte Friederike Wilhelmine of Anhalt-Köthen, Steigt freudig in die Luft, BWV 36a, first performed on 30 November 1726. Another version was a congratulatory cantata for a member of the Rivinius family from Leipzig, Die Freude reget sich, BWV 36b, probably in 1735. Bach transformed the secular music to a cantata for the first Sunday in Advent, first by combining four movements and simply adding a chorale, the final stanza of "Wie schön leuchtet der Morgenstern". The librettist of this adaptation, who stayed close to the secular cantata without reference to the readings, is unknown. Klaus Hofmann notes that the jubilant opening matches the Gospel of the entry into Jerusalem "with the people's jubilant shouts of Hosanna". The date of the adaptation is not certain, because the version is extant only in a copy by Bach's student Christoph Nichelmann. Finally in 1731, Bach reworked the cantata considerably and wrote a new score. He interpolated the arias not with recitatives, but with three stanzas from Luther's hymn for Advent, "Nun komm, der Heiden Heiland". This main hymn for the first Sunday in Advent had already opened his cantata for the same occasion in 1714, Nun komm, der Heiden Heiland, BWV 61, and he had used it as the base for his chorale cantata Nun komm, der Heiden Heiland, BWV 62, in 1724. The hymn stanzas "serve to anchor the cantata to some extent in the Advent story, and to give it liturgical purpose and a clear focus". John Eliot Gardiner terms it "structurally unusual". Bach divided the cantata in two parts to be performed before and after the sermon, closing part I with a stanza from Nicolai's hymn. For context, he replaced stanza 7, which had closed the whole cantata, by stanza 6, and closed part II by the final stanza of Luther's hymn. Bach first performed the cantata on 2 December 1731, one week after Wachet auf, ruft uns die Stimme, BWV 140./ If you like this video subscribe to my channel. There are many more videos like this one lovingly prepared and edited by myself for your enjoyment! Check out my extensive playlist collections as well.
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