bach singet dem herrn
", "Two days later I am Newark bound again, with a head full of the history of a town I previously had no awareness of, and with a heart full of the music of Bach, presented in a context that felt less like a festival than a glorious friendship between a great composer and the orchestra, conductor and choir at the heart of an extraordinary town. There is, however, a good deal of dispute over the original intention for the work,a well as for the actual date of origin. "Singet dem Herrn" is one of the six motets written by JS Bach for unaccompanied choir. ", "Nestled in the Pennsylvania countryside, on and around the bucolic campus of Lehigh University, the Bethlehem Bach Festival, under the artistic direction of conductor Greg Funfgeld, is in its 108th season and going strong. Singet dem Herrn was likely written in 1727 for the Leipzig city and university festival celebrating the birthday of King August, who visited the town after having survived a grave illness. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. sing a new song…), and. Dr. Robin Leaver, our program annotator, writes of Singet dem Herrn: All the verbal superlatives that have been heaped on this work – and there have been many – cannot do justice to the impact that this marvelous sound makes on performers and hearers alike.
If it has flaws, they are like those that distinguish a fine emerald from the perfect clarity of a fake...their choral sonority is so rich you can feel it in your bones. Songs of Hope: The 2011 Spring Concert (Updated). Following an exuberant wholesale ping-ponging of the word ‘Singet!’, both choirs plunge initially into a complicated fugue. Singet dem Herrn ein neues Lied, BWV 225 (en alemán, Canta al señor una nueva canción) es un motete de Johann Sebastian Bach. That's fine!' The second section is reflective. Yes, but consider the circumstances of her life: she spent the last thirty years of her life in exile from the Polish court after she, unlike her husband, refused to renounce Lutheranism for Roman Catholicism.
Opinions differ as to the reasons and circumstances of its composition (about which more below), but its outstanding musical craftsmanship is not in dispute. Bach divides the motet into four clear sections.
This beginning section constitutes a sort of prelude, matched to a ridiculously (in the best possible sense of the word) ornate fugue. It is probably a little too cheerful for a memorial service for the Queen of Poland, yet a little too solemn for the birthday music for King August, who had just recovered from a serious illness. The first is vigorous, and clearly focuses on the world “singet”, stating it more than 50 times. This dialogue is slow-moving, and quite beautiful, an invocation for God’s continued protection in the future. 69-17, in, Johann Sebastian Bach: The Learned Musician, Information on the work on www.bach-cantatas.com, International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Singet_dem_Herrn_ein_neues_Lied,_BWV_225&oldid=926751262, Psalm-related compositions by Johann Sebastian Bach, Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 18 November 2019, at 13:51. This section is, again, pure vocal dance with long melismas in an act of text painting: the first is on the word “alles” or everything – underlining the how vast a quantity of souls that would mean.
Rochlitz also reports that Mozart requested a copy, and "valued it very highly..."[4]. It was first performed in Leipzig around (probably) 1727. "Singet dem Herrn ein Neues Lied" ("Sing unto the Lord a new song") is widely considered the greatest of Bach's set of six motets. One can only wonder. The more than 100 vocalists displayed clean tone, excellent pitch and blend, and kept good tempo even in the most stressful numbers…outstanding, energetic and crisp.
Dr. Robin Leaver, our program annotator, writes of Singet dem Herrn: ... for which Bach composed one of his greatest contrapuntal masterpieces. That’s quite alright – just performing or hearing this piece is a grand occasion. There was a miraculous blend of tone and balance throughout. These are long works, far longer than the Renaissance ancestor of this genre.
The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. There was a miraculous blend of tone and balance throughout. J.S. Hallelujah!
“A complete orchestra should be added to this”, wrote Mozart on his copy of Bach’s motet Singet dem Herrn.
[Mozart] lloró. For further information of Bach's Motets, please, way to memorise your vocal line and practise between choir rehearsals, If you wish to have a CD of Bach's Motets to hear the whole work, Bach Motet 1 (Singet dem Herrn) Vocal Score, click here to visit the Wikipedia website, ChoraLine - Rehearsal CD & EasyPlay (Stream/Download/App). IJB 597 Key D major Movements/Sections Mov'ts/Sec's: 7 movements: Chorus: Singet dem Herrn ein neues Lied Chorale and recitative (alto, tenor, bass): Herr Gott, dich loben wir Aria (alto): Lobe, Zion, deinen Gott On the word “dances” (or reihen), a long melismatic passage begins – many notes are sung to one syllable, creating the aural image of a florid dance.
Although I don’t know exactly the source, it reminds me very much of the famous setting of Psalm 100, known as “Old Hundredth” or “Praise God from Whom All Blessings Flow.” Here are both: (In Singet, Bach actually wrote a measure rest between the two phrases, where Choir one sings, but I took that out here so you could see the similarity in the chorales.). Your email address will not be published. Pudo componerlo para proporcionar ejercicios corales para sus estudiantes en la Thomasschule. The purpose for which the motets were written is not known; however, the survival of Bach's autograph score and parts have in this instance allowed a dating of 1726 or 1727. Required fields are marked *. "From anguish to elation, and just about everything in between, pretty much describes the vast emotional landscape covered in Friday evening’s concert at Packer Memorial Church presented by the Bach Choir of Bethlehem. Such is the density of this music, that this is next to impossible to do (a large company would be necessary, and there would be lots of acrobatics)! The effortless virtuosity and stylistic homogeneity of the combined forces in the chapel's stone sanctity, allowed Bach's music to sing out with infectious, exhilarating enthusiasm. Mozart was able to learn something from this. Rochlitz, Johann Friedrich, in the Allgemeine Muiskalische Zeitung, 1799, p. 117, translation from Robert C. Marshall, "Bach and Mozart's Artistic Maturity," pp. Singet dem Herrn ein neues Lied, Sing to the Lord a new song, Die Gemeine der Heiligen sollen ihn loben. Apart from the cantata, hardly any new music was played in Leipzig (music was selected instead from the motet collection Florilegium Portense). Usually I like to imagine Bach’s faster fugues as dances after seeing the wonderful choreography of Barbara Pearson to the Cum Sancto Spiritu from the B Minor Mass at a Family Concert a few years ago. the timpani-like movement through a triad on “Pauken” (drums) amidst otherwise flowing music. Die Kinder Zion sei'n fröhlich über ihrem Könige, Let the children of Sion be joyful about their king,
Maybe this is “in-his-dreams” Bach.”, “…a performance that confirmed my belief that this is one of the finest large amateur choruses in the United States.”. Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. The Choir is supported in part by the National Endowment for the Arts and the Pennsylvania Council on the Arts. And that’s probably a good thing too. [4], Rochlitz, Johann Friedrich, in the Allgemeine Muiskalische Zeitung, 1799, p. 117, translation from Robert C. Marshall, "Bach and Mozart's Artistic Maturity," pp.
If it has flaws, they are like those that distinguish a fine emerald from the perfect clarity of a fake...their choral sonority is so rich you can feel it in your bones. The text for Singet dem Herrn is derived from Psalm 149, Psalm 150, and Johann Gramann’s hymn “Nun lob, mein Seel, den Herren”.
Chorus: "Singet dem Herrn ein neues Lied!" This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. Awfully cheerful piece for such an occasion? Maybe this is “in-his-dreams” Bach.”, “…a performance that confirmed my belief that this is one of the finest large amateur choruses in the United States.”. The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. It also blends seamlessly with the excellent modern-instrument Festival orchestra which Greg Funfgeld conducts with an obvious knowledge of, and sensitivity to, modern performance practice.”, “…the Choir and Festival Orchestra, under their director, Greg Funfgeld, perform these three cantatas beautifully and convincingly. El texto del motete de tres movimientos está en alemán y proviene del Salmo 149 para su primer movimiento (Salmos 149: 1-3), la tercera estancia de «Nun lob, mein Seel, den Herren», un himno de 1530 de Johann Gramann, y del Salmo 103 para el segundo movimiento, y del Salmo 150 para su tercer movimiento (Salmos 150: 2,6).
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Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. The conductor, orchestra, soloists, and chorus are eminently capable of the nuances of the rich harmonic texts …spirited and vivacious…It is not likely to get any better than this on this side of the Atlantic.”, “America’s venerable Bach Choir of Bethlehem sang Bach and Mendelssohn with good-natured and ruddy-cheeked elation. "Singet dem Herrn ein Neues Lied" ("Sing unto the Lord a new song") is widely considered the greatest of Bach's set of six motets.
"¡Ese es el espíritu! Sin embargo, no había partituras ... así que le dieron las partes y ... se sentó con las partes a su alrededor». [Mozart] cried. Rochlitz también informa que Mozart solicitó una copia y «la valoró mucho». There is, however, a good deal of dispute over the original intention for the work,a well as for the actual date of origin.
With each succeeding entrance of the fugue, there is accompaniment from the opposite choir – when all of the voice parts have entered, it’s hard to describe the sheer thrill of the moment.
Se representó por primera vez en Leipzig alrededor de (probablemente) 1727. The text of the three-movement motet is in German: after Psalm 149 for its first movement (Psalms 149:1–3), the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement Psalms 150:2,6. No. Four, including Singet dem Herrn, were written for double chorus without instrumental accompaniment, although in Bach’s day he sometimes doubled the voices with instruments for additional support.
Sing to the Lord a new song, The congregation of the saints should praise him. Go back Behind the music . There are wonderful moments of word painting here, most notably: Another interesting musical twist gets somewhat lost in the shuffle, so to speak; this is the fugue on “die Kinder Zions sei’n fröhlich über ihren König,” which begins in choir one (SATB entrances) while choir two returns to the opening material. Soprano Rosa Lamoreaux was also excellent, expertly modulating her silvery tone for the various roles she took…This was the choir’s big night, though, and it gave great pleasure…”, “A handsome account of Bach’s St. John Passion on this new release confirms that the Bach Choir of Bethlehem doesn’t rest on anything resembling laurels.
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