Cantata

and Cantata Music during the Baroque period was diverse and composers began to rebel against the styles that were popular during the Renaissance. In the Baroque era music was driven by the text and the emotions behind it. Vocal and sacred music developed greatly during the Baroque period. During the mid-17th century the Italian phenomenon opera dominated most of the theatres in Europe. Sacred music was deeply influenced by the opera, contributing to the development of the oratorio and cantata genre

Oratorio and cantata were two genres that re-emerged in the first half of the eighteenth century. They were already important musical alternatives to opera by the mid-seventeenth century, but differed in nearly every respect from the genres of the same names found in the early eighteenth century. As genres late in the period, they both bespoke the traditions from which they originally sprang and permitted new recombination of the musical elements of these same traditions. The oratorio and cantata of the

The Overlooked Richness of the Recitatives of Bach's Cantata 78 In "Expressivity in the Accompanied Recitatives of Bach's Cantatas," George J. Buelow writes that although many of the distinguishing properties of Bach's music have been studied over the years, few scholars have examined Bach's recitatives or have given them proper credit. He notes that these recitatives generally either are ignored by musical scholarship or are briefly discussed with "general errors" or "confusion." 1 For example

The Effect of the Lyrical and Musical Reciprocation in Bach Cantatas 106 and 80 Johann Sebastian Bach was an 18th century composer, not a theologian, yet there are few men in the history of the world who have so thoroughly captured God’s character and even fewer still who have so passionately impressed that character upon men’s hearts. While the music or lyrics of his cantatas alone are often enough to stir a man to action or reduce him to tears, it is the relationship

JOHANN SEBASTIAN BACH: CANTATA In the Seventeenth-century a new style of composition had its origin in Rome, Italy. This style is known as the cantata da camera or secular cantata. The study of the cantata shows that there were some problems which remained and could not be solved due to the huge numbers of compositions during the baroque era. Vocal chamber music performed in private for the wealthy at their houses, became the most common or popular social entertainment way of the moment. The performing

Unity in Bach's Cantata No.78 According to Rowell, "Musical composition became much longer, and composer were forced to evolve new means of maintaining unity and continuity over long time spans" during the Baroque period. Therefore, the texture of music became very important. When I look at the musical texutre of the Cantata No. 78 by J. S. Bach, I realized that this piece was unified very well within a movement and as a whole piece by many techniques. Some of those techniques were found in

In the Bach Cantata piece to of the pieces that go together and also create a great emotional response is the third Erwage doch and the fourth Komm in mein Herzenshaus in the recording with trumpets and timpani added. The two pieces demonstrate clear examples of grace and mercy. The piece Erwage doch (Recitativo) was sung by a bass singer who sung deep and low and would alternate between singing louder and lower. In the piece the text began with saying “Consider yet, child of God, the so great Christ

The most striking feature of the cantata ‘Young as We Are’ is composer John Adams’ characteristic approach – ‘a different way of providing a new take on a canonical genre (Richards, 2014)’. Firstly, ‘Young as We Are’, a dramatic centre piece in the song cycle of John Adams iconic opera ‘Nixon in China’, provides a fascinating structure. The piece features a treble Petrarchan sonnet, the first two of which precede a turn, following the second rhyming couplet. Each sonnet includes an octave consisting

Bach used all of these skills in his concertos, cantatas, and fugues. A concerto is a musical composition for a solo instrument accompanied by an orchestra. Of all of Bach’s concertos, the “Brandenburg Concertos” are the most famous. These concertos were written for the Margrave of Brandenburg, they were

Maria Barbara Bach at Dornheim on October 17. At Muhlhausen things seem, for a time, to have gone more smoothly. He produced several church cantatas at this time; all of these works are cast in a conservative mold, based on biblical and chorale texts and displaying no influence of the “modern” Italian operatic forms that were to appear in Bach's later cantatas. The famous organ Toccata and Fugue in D Minor, written in the rhapsodic northern style, and the Prelude and Fugue in D Major may also have