Johann Sebastian Bach Wachet auf, ruft uns die Stimme Videos
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2024-03-25
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Johann Sebastian Bach Wächter Alessio Bax Bax Wilhelm Kempff Perlman Philipp Nicolai George Ratcliffe Woodward Woodward Dürr Heil Freund 1599 1724 1731 1858 1906 1908 1983 2007 2009 2015 2017
Tema utilizado para la película "Call Me By Your Name" realizada en 2017./ I do not own claim to own this material (Music & Photos). This video is purely for entertainment purposes and not for profit, I give full credit to the artist and to the owners of the song, No copyright infringement intended!/ Album: "Call Me By Your Name (Original Motion Picture Soundtrack)" Track 6: “Zion Hört Die Wächter Singen” From Cantata BWV 140 “Wachet Auf, Ruft Uns Die Stimme” Movement 4 Composer: Johann Sebastian Bach Piano: Alessio Bax Piano Transcription: Wilhelm Kempff Courtesy: Signum Records Copyright (p): Signum Records LTD. Label: Masterworks Phonographic Copyright (p): Sony Pictures Classics Inc. Phonographic Copyright (p): Madison Gate Records, Inc. Copyright (c): Madison Gate Records, Inc. Licensed: Sony Music Entertainment Production Company: Frenesy Film Company, La Cinéfacture, RT Features, M.Y.R.A. Entertainment, Water's End Productions Distributed: Sony Pictures Classics Call Me by Your Name is a 2017 romantic coming-of-age drama film directed by Luca Guadagnino and written by James Ivory, based on the 2007 novel of the same name by André Aciman. It is the third and final installment in Guadagnino's thematic Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015). Set in Northern Italy in 1983, Call Me by Your Name chronicles the romantic relationship between Elio Perlman (Timothée Chalamet), a 17-year-old living in Italy, and his father's American assistant, Oliver (Armie Hammer). The film also stars Michael Stuhlbarg, Amira Casar, Esther Garrel, and Victoire Du Bois. "Wachet auf, ruft uns die Stimme" (literally: Awake, the voice is calling us) is a Lutheran hymn written in German by Philipp Nicolai, first published in 1599 together with "Wie schön leuchtet der Morgenstern". It appears in German hymnals and in several English hymnals in translations such as "Wake, O wake! with tidings thrilling" (Francis Crawford Burkitt, 1906) "Wake, Awake, for Night Is Flying" (Catherine Winkworth, 1858) or "Up! Awake! From Highest Steeple" (George Ratcliffe Woodward, 1908). The hymn is known as the foundation of Johann Sebastian Bach's chorale cantata Wachet auf, ruft uns die Stimme, BWV 140, as well as being the foundation of settings by other composers. Wachet auf, ruft uns die Stimme (Awake, calls the voice to us), BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. Bach composed this cantata to complete his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas "Wachet auf, ruft uns die Stimme" (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the parable of the Ten Virgins. The text and tune of the hymn appears unchanged in movements 1, 4 and 7. An unknown author supplied poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second (movement 4) in the style of a chorale prelude, and the third as a four-part chorale. Bach used movement 4 of the cantata as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the cantata is an expression of Christian mysticism in art, while William G. Whittaker calls it "a cantata without weakness, without a dull bar, technically, emotionally and spiritually of the highest order". Movements of Wachet auf, ruft uns die Stimme, BWV 140: 1. Wachet auf, ruft uns die Stimme/2. Er kommt/3. Wann kommst du, mein Heil?/4. Zion hört die Wächter singen/5. So geh herein zu mir/6. Mein Freund ist mein!/7. Gloria sei dir gesungen. The fourth movement, "Zion hört die Wächter singen" (Zion hears the watchmen singing), is based on the second verse of the chorale. It is written in the style of a chorale prelude, with the phrases of the chorale, sung as a cantus firmus by the tenors (or by the tenor soloist), entering intermittently against a famously lyrical melody played in unison by the violins (without the violino piccolo) and the viola, accompanied by the basso continuo. Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five other transcriptions Bach made of his cantata movements as the Schübler Chorales. Source: Wikipedia
Telemann Hori Masafumi Hori Marie Claire Alain Franco Gulli Bach Karl Münchinger Herbert Karajan Bronislav Gimpel Edith Picht Axenfeld Jacqueline Pré Villa Lobos David Hertzberg Hertzberg 1050 1512 1951 1953 1958 1960 1962 1964 1966 1968 1973 1974
Philipp Naegele, Gerhard Ohnheiser, Masafumi Hori and Ottatvia Kortner are soloists in this 173 recording of Telemann's Concerto in C major for 4 violins. The Heidelberg Chamber Orchestra (without conductor) accompanies. I created this video from the LP shown above, issued in 1973 on the Musical Heritage Society label, serial number MHS 1512. The Library of Congress online catalogue entry for this LP can be reviewed here: (http•••) Hans Kalafusz / Wolfgang Rösch: Violin Concerto in D minor, BWV 1043 - Allegro - (http•••) Marie-Claire Alain, 1964: Kommst Du Nun, Jesu, Vom Himmel Herunter, BWV 650 - (http•••) Isolde Ahlgrimm: French Suite in D minor, BWV 812 - 1953 Recording: (http•••) Isolde Ahlgrimm: French Suite in C minor, BWV 813 - 1953: (http•••) Franco Gulli: Sonata No. 1 in G minor, BWV 1001 - Fuga (Allegro): (http•••) Brigitte Zaczek: Suite in G major (after the Cello Suite No. 3, BWV 1009) (Bach) - Part 1: (http•••) Karl Münchinger: Brandenburg Concerto No. 5 in D major, BWV 1050 (Movement 3) - 1951: (http•••) Herbert von Karajan, BPO: Ouverture in D major, BWV 1068 - Air - DG, 1966: (http•••) Herbert von Karajan, 1966 - Brandenburg Concerto No. 4 in G, Allegro: (http•••) Herbert von Karajan, 1966 - Brandenburg Concerto No. 3 in G, Allegro: (http•••) Herbert von Karajan, 1966 - Brandenburg Concerto No. 2 in F, Allegro Assai: (http•••) Bach / Bronislav Gimpel, 1964: Sonata No. 3 in C major for Violin, BWV 1005 - Allegro assai - (http•••) JS Bach / Marie-Claire Alain, 1964: Wachet Auf, Ruft Uns Die Stimme, BWV 645: (http•••) JS Bach / Edith Picht-Axenfeld, 1968: Goldberg Variations, BWV 988 - Variations 1, 2, 3 - (http•••) Bach / Karl Münchinger, 1951: Brandenburg Concerto No. 5 in D major, BWV 1050 (Allegro) - (http•••) JS Bach / Jacqueline du Pré: Adagio, from the Toccata in C, BWV 564 - 1962 - (http•••) Bach / Villa-Lobos: Fugue No. 1 in C major, BWV 846 (transcribed for Cellos by Villa-Lobos) - 1958 - (http•••) JS Bach / Sylvia Marlowe: Concerto for Two Harpsichords in C major, BWV 1061 - Fuga - 1960 - (http•••) Bach / Hans Kalafusz: Violin Concerto in E major, BWV 1042 - Movement 3 - 1974 - (http•••) "David Hertzberg"
Here's Bach's - Sleepers Wake ("Wachet auf, ruft uns die Stimme") BWV 645. Didn't know it was originally from Bach's Cantata 140. Here it is arranged by Leonard Borwick for solo piano. Another one of Bach's many beautiful pieces that we wanted to learn. :) Feel free to leave a like, comment, or subscribe - we enjoy hearing from you all. :) Thanks for watching! Link to IMSLP for various scores: (http•••) Til next time, BachToBagels
Johann Sebastian Bach Antonio Vivaldi John Arnold Kistler Windt Sullivan Casella Watt Cecere 1678 1685 1741 1750 2021
Welcome back to Bach at Noon!! From Central Moravian Church in Historic Downtown Bethlehem and led by Artistic Director and Conductor Greg Funfgeld, today's concert features a program of music to refresh your spirit - from Johann Sebastian Bach and Antonio Vivaldi. We’re presenting this before an audience in attendance – and are delighted to also be live-streaming this concert to our audience around the world. Thank you for joining us! Soloists: John Arnold, guitar Julie Bosworth, soprano Lane Conklin McCord, tenor William Sharp, baritone Will you help us meet our "Matching Gift" challenge? We are once again grateful to our generous patrons, Judy and Fritz Thomas, who have offered us a $1,000 Matching Gift Challenge for our November Bach at Noon concert. They made the same extraordinary gift to us last fall and we were so touched by their generosity! Judy and Fritz have a long history with us and have supported The Choir for many, many years. Their gift means that every donation we receive will be matched, up to $1,000! Your donation in any amount will help us meet this challenge! Thank you for your contribution. These free will offerings enable us to continue providing our Bach at Noon concerts that so many have found to be a comfort and an inspiration over the years. To make your free will contribution, please go to bach.org/donate or text BNOON to 44-321. Access our printable program or follow online: (http•••) PROGRAM: Antonio Vivaldi (1678–1741) Guitar Concerto in D Major, RV 93 (Allegro giusto) – Largo – Allegro – John Arnold, guitar Johann Sebastian Bach (1685–1750) Cantata BWV 140, Wachet auf, ruft uns die Stimme with members of the Bach Festival Orchestra: Elizabeth Field, Stephani Bell, Rebecca Brown, Inna Eyzerovich, Linda Kistler & Mary Ogletree, violins Akhmed Mamedov & Lucy Windt, violas Loretta O’Sullivan & Noelle Casella Grand, celli Stephen Groat, bass Mary Watt, Nobuo Kitagawa & Lynne Cohen, oboes & English horn Charles Holdeman, bassoon Anthony Cecere, French horn Thomas Goeman, continuo organ & harpsichord
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