Cantata no. 4 ; Christ lag in Todesbanden : an authoritative score / edited by Gerhard Herz.
By: Bach, Johann Sebastian.
Contributor(s): Herz, Gerhard
.
Material type: 
BookSeries: Norton critical scores.Publisher: New York :, W.W. Norton, [1967]Description: 1 miniature score (138 p.) ; 21 cm.ISBN: 0393097617.Subject(s): Bach, Johann Sebastian, 1685-1750 | Cantatas, Sacred -- Scores | CarolsDDC classification: SC/1224 | Item type | Current library | Call number | Copy number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|
| General Lending | MTU Cork School of Music Library Lending | SC/1224 (Browse shelf(Opens below)) | 1 | Checked out | 25/09/2020 | 00089418 |
Enhanced descriptions from Syndetics:
Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.
A score embodying the best available musical text.
Historical background--what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.
A detailed analysis of the music, by the editor of the volume or another well-known scholar.
Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.
Score (p. 31-72) reprinted from the E. Eulenberg pocket score edited by Arnold Schering.
Bibliography: p. 137-138.
Historical background.--The score of Cantata no. 4.--Analysis.--Views and comments.
Author notes provided by Syndetics
Composer, organist, and the most famous of an illustrious family of German musicians, Johann Sebastian Bach was born in 1685. He was a master of polyphonic baroque music-a musical form characterized by the use of multiple parts in harmony and by an ornate, exuberant style. Bach's father, Johann Ambrosius, taught his son to play the violin at a very early age. At age 10, after both of his parents died, Bach lived with his brother Johann Christoph, an organist, who taught him to play keyboard instruments. Bach's musical genius, however, soon surpassed his brother's skill. During his lifetime, Bach was known more for his skill as an organist than as a composer. His fame as a composer did not come until years after his death, when his works were discovered by the composers Felix Mendelssohn and Robert Schumann and published in the 1800s.Between 1703 and 1717, Bach served as an organist in the German cities of Arnstadt, Muhlhausen, and Weimar. During that time, he wrote chorales, cantatas, concertos, preludes, and fugues, primarily for the organ. These works fused Italian, French, and German characteristics with a profound mastery of the contrapuntal technique. While serving as music director at the court of a German prince from 1717 to 1723, Bach wrote many compositions for the clavier and instrumental ensembles. These included preludes, fantasies, toccatas, and dance suites that served as both music instruction and entertainment. Of these works, the best known is the Well-Tempered Clavier, a series of preludes and fugues composed in 1722 and
Bach's last position as cantor and music director of St. Thomas's Church in Leipzig (1724--50), exerted considerable influence on Lutheran church music. During this period, he composed as many as 300 cantatas, 200 of which have been preserved. After his death at the age of 65, Bach became revered as one of the world's greatest composers, and his compositions are regarded by many as the most sublime music ever composed.
(Bowker Author Biography)