Relevant bibliographies by topics / Sacred Cantatas

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Sacred Cantatas'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Sacred Cantatas"

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Johnston, Gregory S., and Christoph Wolff. "The World of the Bach Cantatas. Vol. 1: Johann Sebastian Bach's Early Sacred Cantatas." Notes 56, no. 2 (1999): 401. http://dx.doi.org/10.2307/900017.

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Cyr, Mary. "Ariane consolée par Bacchus and François Couperin’s early writing for the viol." Early Music 48, no. 3 (2020): 291–306. http://dx.doi.org/10.1093/em/caaa037.

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Abstract Ariane consolée par Bacchus, newly discovered by Christophe Rousset and the only surviving cantata attributed to François Couperin, is scored for bass voice, obbligato bass viol and continuo. Because Couperin passionately engaged with Italian music, scholars have long assumed that he would have composed cantatas, but until now none had been known to survive. His choice of bass voice and viol, an unusual combination in the French cantata repertory, opens several avenues for investigation. A precursor to his choice of bass voice and viol can be found in his petits motets, some of which date from the 1690s, and the verset Deus virtutum convertere (1705). Although bass voice and solo viol do not yet appear together in a single work, Couperin’s writing betrays his interest in new Italian music and in composing for the viol. Some Italianate features that appear in the early sacred works can also be found in Ariane consolée par Bacchus.
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Ломтев, Д. Г. "Gottfried Heinrich Stölzel’s Sacred Cantatas in the Music Collection of the Dukes of Saxe-Gotha-Altenburg." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 52–91. http://dx.doi.org/10.26176/mosconsv.2017.31.4.02.

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Из многочисленных сочинений Штёльцеля в библиотеке герцогов Саксен-Гота-Альтенбургских на сегодня осталось 11 нотных рукописей, в том числе девять партитур духовных кантат. Предлагаемый впервые на русском языке анализ трех из них, принадлежащих к раннему и позднему периодам, позволил выявить стилистические общности и различия образцов данного жанра в наследии композитора. В нотном приложении впервые опубликована кантата Und der Herr sprach: Auf und salbe ihn (1745). In the ducal library of Saxe-Gotha-Altenburg there are now only 11 manuscripts including 9 scores of the sacred cantatas from the many musical compositions of Gottfried Heinrich Stölzel. Analysis for the first time of three of them, belonging to the early and late works of the composer, made it possible to identify their stylistic communities and differences. Cantata Und der Herr sprach: Auf und salbe ihn (1745) is published for the first time in the supplement.
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Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of ‘Italian’ vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.
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Varwig, Bettina. "Distributed Listening: Aural Encounters with J. S. Bach’s Sacred Cantatas." BACH: Journal of the Riemenschneider Bach Institute 51, no. 2 (2020): 210–40. http://dx.doi.org/10.1353/bach.2020.0017.

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Varwig. "Distributed Listening: Aural Encounters with J. S. Bach's Sacred Cantatas." Bach 51, no. 2 (2020): 210. http://dx.doi.org/10.22513/bach.51.2.0210.

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Tunley, David. "Sacred Vocal Works, and: Three Sacred Cantatas: Esther, Susanne, Judith, and: Secular Vocal Works (review)." Notes 64, no. 1 (2007): 141–44. http://dx.doi.org/10.1353/not.2007.0131.

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BACCIAGALUPPI, CLAUDIO. "CLASSIFYING MISATTRIBUTIONS IN PERGOLESI’S SACRED MUSIC." Eighteenth Century Music 12, no. 2 (2015): 223–29. http://dx.doi.org/10.1017/s1478570615000329.

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On 16 March 1736 Giovanni Battista Pergolesi died from consumption at age twenty-six in the Franciscan monastery of Pozzuoli near Naples, leaving a considerable number of compositions in all genres: stage works, cantatas, instrumental music and sacred music. On account of the success these compositions had enjoyed in Italy during his life, and the extraordinary fame they achieved in the rest of Europe after his death, a multitude of works bearing his name continued to be disseminated, many of which had little, if any, connection with Pergolesi himself. This phenomenon invites us to question what mechanisms are at work when a piece of music is misattributed, for if spurious or doubtful works can be classified according to their origin, then the identification of recurring patterns may help disentangle similar cases. This essay aims to classify the origins of misattributed sacred works from the first decades of Pergolesi's posthumous reception.
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Kristanto, Billy. "Exil und religiöse Identität in einigen Kantaten von Johann Sebastian Bach." European Journal of Theology 29, no. 2 (2020): 201–20. http://dx.doi.org/10.5117/ejt2020.2.006.kris.

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Summary This article examines nine sacred cantatas by Johann Sebastian Bach which address the subject of exile and religious identity. The biblical or general theological background of the text of each selected cantata, as well as the way in which Bach set the text to music, is discussed. We can learn from Bach that, first, there should be a legitimate space to express fear and insecurity about the arrival of foreigners. Second, believers who are in exile can associate their Christian identity with the life of Jesus while inviting unbelievers to find their identity in Jesus. Third, both suffering and hospitality are true features of Christian discipleship. Fourth, Bach’s interpretation of exile as a divine punishment is not the final message. The motif of exile as punishment is transformed by a Christological interpretation. Finally, the end of exile can be celebrated. In exile, believers dare to hope and to believe; at the end of the exile, believers celebrate without forgetting their past suffering. Both testify to a sound religious identity.
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Zangwill, Nick. "Understanding Religious Music: A Smorgasbord." Religions 15, no. 4 (2024): 453. http://dx.doi.org/10.3390/rel15040453.

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Understanding religious music is challenging. Indeed, the whole idea can seem perplexing and problematic. In this paper, a number of ways of understanding religious music are sketched. Seven main models are distinguished: the side-effect model, the ringtone model, the honey model, the addition model, the fitting beauty model, the organic unity model, and the similarity model. Some issues concerning Bach’s Sacred Cantatas are then considered in order to see how these approaches apply in one particularly controversial and puzzling example.
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Dissertations / Theses on the topic "Sacred Cantatas"

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Reul, Barbara Margaretha. "The sacred cantatas of Johann Friedrich Fasch (1688-1758) /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32766.pdf.

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Roberson, Kevin D. (Kevin Douglas). "The Seven Last Words of Christ: A Sacred Cantata." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc935618/.

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The Seven Last Words of Christ is a sacred cantata for SATB chorus with soloists accompanied by a woodwind quintet, brass quintet and three percussionists. The text employed in this work is based on the Gospel accounts of the crucifixion of Jesus Christ in the King James Version of the of the Holy Bible. The cantata consists of seven movements with an instrumental introduction and postlude, and has a duration of approximately twenty-seven minutes. The majority of the movements are slow in tempo, reflecting the somber mood of the text. The major goal of this work is to musically represent the drama and prevailing mood present at an event of extreme magnitude and importance in the lives of Christians around the world, and to provide additional literature for special church services through the use of individual movements.
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Forbes, Anne-Marie H., and Johann Sebastian 1685-1750 Vergnügte Ruh beliebte Seelenlust Vergnügte Ruh beliebte Seelenlust Bach. "A master's recital and analytical programme notes." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9839.

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Title from accompanying document.<br>A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator.<br>Digitized by Kansas Correctional Industries
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Park, Chungwon. "CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194278.

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As the core of virtually all vocal and instrumental composition in the Baroque music, the basso continuo group had an extremely important role in the sacred cantatas by Johann Sebastian Bach (1685-1750). During the Baroque period, the choice of instruments was sometimes indicated by the composer, but frequently the performers had to determine which instruments were most appropriate for the particular environment and context of the music.When performing the sacred cantatas of J.S. Bach, the conductor must identify and make decisions regarding the choices and combinations of instruments for both figured and sustained continuo part. In some cases the conductor may even consider changing continuo instrument(s), movement by movement, in a cantata in which a significant shift occurs in the texture, orchestration, or dramatic function of singer's line. Since Bach's cantatas are an encyclopedia of Baroque musical style, and models of compositional techniques of the time, understanding the cantatas is a practical and effective way to gain understanding regarding his other compositions. These cantatas also present musical challenges and rewards to choirs and orchestras.In an attempt to achieve a greater understanding and establish guidelines, I will examine and propose six principles and parameters regarding choices and combinations of basso continuo instruments and obbligato instruments, examining a variety of movement types from six different sacred cantatas of J.S. Bach ; Christ lag in Todesbanden, BWV 4; Ich hatte viel bekümmernis, BWV 21; Halt im Gedächtnis Jesum Christ, BWV 67; Herr, gehe nicht ins Gericct mit deinem Knecht, BWV 105; Wachet auf, ruft uns die Stimme, BWV 140, and Erschallet, ihr Lieder, BWV 172.This study will include:1) A critical review of performance practice and historical evidence regarding the basso continuo part in Bach's sacred cantatas2) Using "4 TAV System: Six Parameters" performance considerations and suggestions for instrument choices in basso continuo group for chorus, solo, recitative, and chorale movements in the selected cantatas3) Examinations and suggestions of several possible choices and combinations of basso continuo instruments
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Napier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.

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Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.
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吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.

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Montaigu, Ginette. "La Vision du Christ, l'Un de la Trinité, et du Dieu trinitaire chez Jean-Sébastien Bach." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0324.

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Une première partie, après l’introduction, est consacrée aux deux passions de Jean-Sébastien Bach, la musique et la théologie-à l’héritage européen du compositeur, tant au point de vue musical que théologique. La seconde partie s’attache à l’analyse d’œuvres de Bach. La cantate Christ lag in Todesbanden a une place essentielle dans la liturgie protestante. Le compositeur reprend les versets du cantique du même nom écrit par Luther. L’attachement du Réformateur est viscéral pour le mystère de la Rédemption et son instrument, la Croix. Jean-Sébastien Bach éprouve la même adoration pour le Christ supplicié, mais il insiste fortement sur l’aspect lumineux de l’autre mystère du Christ, la Résurrection. La cantate Ich hatte viel Bekümmernis introduit le dialogue entre l’âme et Jésus qui laisse pressentir les futures consolations réservées à l’âme qui s’interroge sur l’abandon de Dieu. Une atmosphère de joie débordante en finale de l’œuvre avec jeu de timbales affirme la confiance en Dieu. Matthäus-Passion se termine certes par le repos serein du Christ dans le tombeau, mais la Passacaille, la Messe d’orgue du Klavierübung III soulignent l’hommage au Christ triomphant de la Mort, en accord avec les deux autres personnes de la Trinité. Une troisième partie montre que certaines œuvres dites profanes ont un caractère religieux. On retrouve la symbolique du Christ et du Dieu trine dans des fugues du Clavier bien tempéré. La théologie de la Croix de Luther est suivie par la théologie de la Gloire dans l’œuvre de Bach comme chez les théologiens scolastiques<br>A first part, after the introduction, is devoted to the two passions of Johann Sebastian Bach, music and theology-to the European heritage of the composer, from a musical as well as a theological. The second part sticks to the analysis of works of Bach. The Cantata BWV4 Christ lag in Todesbanden has an essential place in the Protestant liturgy. The composer takes up again the verses of the canticle of the same name written by Luther. The attachment of the Reformer to the mystery of Redemption and its instrument the Cross is deep-rooted. Johann Sebastian Bach feels the same worship for Christ executed, but he strongly insists on the luminous aspect of the other mystery of Christ, the Resurrection. The Cantata BWV21 Ich hatte viel Bekümmernis introduces the dialogue between the heart and Jesus which gives a feeling of the future divine consolations reserved for the soul wondering about God's abandonment. An atmosphere of overflowing joy in the finale of the work with a play of trumpets asserts confidence in God. Saint Matthew's Passion certainly ends with the serene rest of Christ in the sepulchre, but the Passacaglia in C minor, and the Mass Organ part of Clavierübung III underline homage to Christ triumphing over Death, in harmony with the other two persons of the Holy Trinity. A third part shows that some profane works have a religious character. One finds the symbolism of Christ and the triune God in Fugues from the Well-Tempered Clavier. Luther’s theology of the Cross is followed by the theology of Glory in the work of Bach, as with the Scholastic theologians
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Justi, Katia Regina Kato. "O Oboe e a representação da Confiança nas arias das cantatas sacras de J.S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284316.

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Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007<br>Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundamentos e sua grande influência na música. Procuramos fazer, nos diversos períodos da vida de Bach, um levantamento de todas as árias compostas para oboé, com especial ênfase nas árias compostas para um instrumento obbligato. Avaliamos também a grande importância das doutrinas da Musica Poetica e da retórica na vida e no pensamento musical alemão e como essas doutrinas influenciaram as composições de Bach. Finalmente buscamos traçar relações entre os aspectos retórico-musicais e a utilização do oboé obbligato nas árias sacras com os afetos da confiança e do temor<br>Abstract: This work aims at investigating, from a rhetoric point of view, the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Treating the different periods of Bach's life, we tried to gather all of his arias composed for the oboe, with special emphasis in the arias composed for an obbligato instrument. We also evaluated the great importance of the doctrines of Musica Poetica and of life rhetorics to the musical German thought. We also evaluated how these doctrines influenced Bach's compositions. Finally, we tried to trace the relationships between the rethorical musical aspects and the use of the obbligato oboe in the sacred arias with the affects of trust and fear<br>Mestrado<br>Mestre em Música
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Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.

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Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable<br>Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing
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Holler, Marcos Tadeu. "A interpretação de recitativos em cantatas sacras de G. P. Telemann sob uma perspetiva historica." [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284173.

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Orientadores: Helena Jank, Dorotea Kerr<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-20T21:04:39Z (GMT). No. of bitstreams: 1 Holler_MarcosTadeu_M.pdf: 4958477 bytes, checksum: 3076180d8d6ccb6a32b8b2633c3ac9c3 (MD5) Previous issue date: 1995<br>Resumo: Não informado<br>Abstract: Not informed.<br>Mestrado<br>Mestre em Artes
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Books on the topic "Sacred Cantatas"

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Bach, Johann Sebastian. Cantatas. Archiv Produktion, 2000.

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Schelle, Johann. Six chorale cantatas. A-R Editions, 1988.

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Felix Mendelssohn Bartholdys Choralkantaten, Gestalt und Idee: Versuch einer historisch-kritischen Interpretation. P. Lang, 1996.

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Hekkers, William. Bach, les Cantates. Editions RTBF, 1986.

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Emans, Reinmar. Kantaten zum Sonntag Jubilate: Kritischer Bericht. Bärenreiter, 1989.

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Glöckner, Andreas. Kantaten zum 22. und 23. Sonntag nach Trinitatis: Kritischer Bericht. Bärenreiter, 1995.

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Wendt, Matthias. Kantaten zu Marienfesten.: Kritischer Bericht. Bärenreiter, 1994.

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Rempp, Frieder. Kantaten zum Reformationsfest und zur Orgelweihe: Kritischer Bericht. Bärenreiter, 1988.

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Nieden, Hans-Jörg. Die frühen Kantaten von Johann Sebastian Bach: Analyse, Rezeption. Katzbichler, 2005.

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Wendt, Matthias. Kantaten zu Marienfesten.: Kritischer Bericht. Bärenreiter, 1995.

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Book chapters on the topic "Sacred Cantatas"

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Bertouch, Georg von. "Three Sacred Cantatas." In Recent Researches in the Music of the Baroque Era, 151. A-R Editions, 2008. http://dx.doi.org/10.31022/b151.

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Eberlin, Daniel. "Four Sacred Cantatas." In Recent Researches in the Music of the Baroque Era, 184. A-R Editions, 2013. http://dx.doi.org/10.31022/b184.

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"The Legacy of Anti-Judaism in Bach’s Sacred Cantatas." In Jews and Protestants. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110664713-006.

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Stinson, Russell. "Edward Elgar Reads Albert Schweitzer." In Bach's Legacy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0005.

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This chapter examines Edward Elgar’s thoughts on Bach’s vocal works according to the many inscriptions made by him in his copy of Albert Schweitzer’s book, J. S. Bach. Elgar took a harsh view of Bach’s treatment of the human voice, and he derided Schweitzer as an author. Of particular interest are Elgar’s remarks about Bach’s sacred and secular cantatas.
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Talbot, Michael. "The vocal music." In Vivaldi. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164975.003.0007.

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Abstract ‘Vivaldi, who wanted to be active in both fields [vocal and instrumental], always got himself hissed in the first, though he enjoyed great success in the second.’ Thus Tartini, arguing his case that vocal and instrumental composition, being so different in character, could not be mastered equally by one man. This opinion, which smacks of sour grapes, is belied not only by the facts of Vivaldi’s career but by remarks of other contemporaries, notably Mattheson, who, having observed that vocal writing does not tolerate the leaps found in instrumental writing, states: ‘Vivaldi, albeit no singer, has had the sense to keep violinleaps out of his vocal compositions so completely that his arias have become a thorn in the flesh to many an experienced vocal composer.’ The sheer mass of Vivaldi’s vocal music, sacred as well as secular, would not disgrace a composer who never wrote a note of instrumental music: over 45 operas, of which 16 survive in their entirety and four (including Vivaldi’s contribution to II Tigrane) in sufficiently complete form to merit analysis; eight shorter stage works (three extant); 40 cantatas; over 60 sacred works, including four oratorios (one extant).
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Maul, Michael. "Under the Reign of Telemann’s Sacred Cantata Cycles." In Telemann Studies. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108663472.017.

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Tatlow, Mark. "Haydn’s Arianna a Naxos and the Search for an Affective Practice." In Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts. Stockholm University Press, 2023. http://dx.doi.org/10.16993/bce.f.

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This chapter traces the early performance history of Haydn’s 1789 dramatic cantata Arianna a Naxos. The cantata was sung in Vienna by Marianne von Genzinger’s teenage daughter Josepha, in London by the great castrato Gasparo Pacchierotti, in Venice (to a sacred Latin text) by Bianca Sacchetti, and in Eisenstadt by Emma Hamilton, among others. The catalogue of differences exhibited by these early singers demonstrates the huge flexibility of late eighteenth-century vocal performance. This could well be emulated today, the author argues, enabling singers and instrumentalists to adopt an affective practice that ‘tunes’ their performances to our own time.
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8

Bradley, Ian. "1877‒1889." In Arthur Sullivan. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0006.

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The period from 1877 to 1889 was dominated for Sullivan by his collaboration with W.S. Gilbert, with whom he wrote ten highly successful comic operas on an almost annual basis. He found the partnership increasingly frustrating, if highly lucrative. Away from the theatre, he wrote a dramatic cantata about an early Christian martyr, The Martyr of Antioch (1880), and a sacred cantata, The Golden Legend (1886), based on the poem by Henry Longfellow, which was performed more than any other choral work apart from The Messiah in the closing decade of the nineteenth century. In 1880, Sullivan took up the conductorship of the prestigious Leeds Festival which gave him a chance to conduct significant sacred works, including the first ever complete performance in Britain of Bach’s B Minor Mass over which he took considerable pains. An address on music which he gave in Birmingham in 1888 touches on his own faith and reveals his Biblical knowledge and deep attachment to church music. His own contributions to the Savoy operas on which he collaborated with Gilbert also reveal much about his spirituality.
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Karpf, Juanita. "Genre Intrigue." In From Biblical Book to Musical Megahit. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845740.003.0005.

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Whether a vocal work could or should be classified as sacred or secular mattered to 19-century U.S. audiences. Many devout Protestants voiced strong objections to certain types of so-called “secular music,” especially dance, and songs with lyrics considered bawdy or morally suspect. Certain secular genres, especially opera, were performed in theaters and therefore conservative citizenry generally avoided these venues. Yet, when Esther assumed the identity of a theatrical piece, many of its performances took place in spaces considered off-limits to the religiously conservative. However, these matters were anything but clearcut or definitive. Audiences and critics frequently questioned whether or not Esther’s music was sacred, or secular, and debated if Bradbury’s score upheld the expectations of a sacred or religious work. Even as Bradbury referred to Esther as a sacred cantata or oratorio, newspapers also classified the score as an opera. Much of the American public chafed at the possibility that a vocal piece, with a text drawn from the Bible, should be presented in a secular venue, with the addition of secular theatrical trappings such as dance, costumes and acting.
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10

Shrock, Dennis. "The Baroque Era." In Choral Repertoire, 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0003.

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Abstract The most common vocal genres during the era, other than opera, were mass, including Requiem and separate mass movements; oratorio, including settings of the Passion; motet and related sacred settings such as the Magnificat and Te Deum; anthem and other Protestant Reformation forms such as the Calvinist Psalm setting and the German Lutheran chorale; cantata; ode; and madrigal. The mass remained the only genre that consistently involved choral forces throughout the era. The oratorio and cantata usually involved chorus during the middle and latter portions of the era but were often exclusively for soloists in the early years. The motet was scored for choral forces in its prima prattica form, but commonly for solo voices (often only one or two voices and basso continuo) in its seconda prattica form. The anthem and related genres, as well as multimovement works such as odes and most Magnificat settings, were often scored for a combination of soloists and chorus. Finally, the madrigal remained a genre intended only for soloists, either singly or in groups.
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