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By Gregory S Butler PhD, George Stauffer, Mary Dalton Greer

That Johann Sebastian Bach is a pivotal determine within the historical past of Western tune is hardly ever information, and the significance of his fulfillment is so gigantic that it may be tricky to understand. In About Bach, fifteen students exhibit that Bach's significance extends from choral to orchestral track, from sacred track to musical parodies, and in addition to his scribes and scholars, his predecessors and successors. extra, the members display a variety of musicological methods, starting from shut reviews of Bach's offerings of musical shape and libretto to wider analyses of the historic and cultural backgrounds that impinged upon his creations and their lasting impact. This quantity makes major contributions to Bach biography, interpretation, pedagogy, and performance.

Contributors are Gregory G. Butler, Jen-Yen Chen, Alexander J. Fisher, Mary Dalton Greer, Robert Hill, Ton Koopman, Daniel R. Melamed, Michael Ochs, Mark Risinger, William H. Scheide, Hans-Joachim Schulze, Douglass Seaton, George B. Stauffer, Andrew Talle, and Kathryn Welter.

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1. 69. welches nicht allein mit Worten / sondern auch mit Musiciren und Gesängen geschach) zu erheben. Denn GOtt hatte Heman vierzehn Söne und drey Tochter gegeben. v. 6. Diese waren alle unter ihren Vätern Assaph / Jedi­ thun / und Heman / zu singen im Hause des HErrn mit Cymbeln / Psaltern und Harffen / nach dem Ampt im Hause Gottes bey dem Könige. (wie der König die Ordnung gemacht hatte) v. 7. Und es war ihr Zahl / samt ihren Brüdern (Verwandten) die im Gesang des HErrn gelehret waren / allesamt Meister zwey hundert und acht und achzig.

10 The text is not divided between the first and second portions of the movement; rather, the entire text is used in both. ” In composing this chorus, Bach drew into a single movement material from no fewer than four different movements of the work from the previous week, Cantata 21, Ich hatte viel Bekümmernis. The borrowings involve motivic as well as harmonic elements, which were appropriated from the Weimar cantata and fused into a coherent musical texture in the new chorus. As early as the 1870s, Philipp Spitta recognized a possible connection between Cantata 24 and Cantata 21, although he did not know that the two works were performed in consecutive weeks in 1723: The third-movement chorus on the Biblical passage “Alles nun, das ihr wollet .

9. Und das erste Loß fiel unter Assaph auf Joseph / (sampt seinen Sönen und Brüdern / oder Verwandten / der waren zwölffe / weil es von andern ausdrücklich also stehet) das ander auf Gedalia / sammt seinen Brüdern und Sönen / der waren zwölffe . . v. 31. Das vier und zwantzigste auff RomamthiEser / sambt seinen Sönen / und Brüdern (oder 29 greer Bluts Freunden / wie in allen vorigen) der waren zwölffe. (Es waren eben so viel Ordnungen der Sänger / und Instrumentisten / als der Priesterc. 18. und als der Leviten / so den Priestern auffwarteten und halffen.

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