BWV

Ever wonder what BWV stands for or where those numbers came from?

The Bach-Werke-Verzeichnis (BWV; lit. Bach works catalogue; German: [̍ˈbax ˈvɛrkɛ fɛrˈtsaɪçnɪs]) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV^2a, was published in 1998.

BWV numbers were assigned to 1,126 compositions in the 20th century, and more have been added to the catalogue in the 21st century. The Anhang (Anh.; Annex) of the BWV lists over 200 lost, doubtful and spurious compositions.

The first edition of the Bach-Werke-Verzeichnis was published in 1950. It allocated a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft (BG) edition for the collation (e.g. BG cantata number = BWV number of the cantata):^[1]

The Bach-Werke-Verzeichnis ( BWV; lit. Bach works catalogue; German: [̍ˈbax ˈvɛrkɛ fɛrˈtsaɪçnɪs]) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV 2a, was published in 1998.

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John Blanke

Think that Music History is only about white men? Remember that history is written by the victors, and meet John Blanke, a black trumpeter in the royal courts of Henry VII and Henry VIII.

John Blanke, Afro-British Trumpeter

Composers of "The Triumphs of Oriana"

“The Triumphs of Oriana” included works by 23 different English composers, including Thomas Tomkins, Thomas Morley, John Farmer, John Wilbye, and Thomas Weelkes, and was based on “Il trionfo di Dori”, an Italian collection from 1592.

Long live fair Oriana

Notice a pattern? Every madrigal in The Triumphs of Oriana ends with “then sang the shepherds and nymphs of Diana, ‘Long live fair Oriana.’” Those lines were taken from Croce’s “Ove tra l’herbe e I fiori”, which was in turn reworked by Morley as “Hard by a crystal fountain.”

Come Gentle Swains

The Triumphs of Oriana was a collection of English madrigals edited by Thomas Morley and published in 1601 for Elizabeth I. In addition to “Vesta” from last week, it also included “Come gentle swains” by Cavendish.

Word painting in madrigals

Madrigals are famous for their word painting, especially this one by Weelkes. Whether it’s “two by two”, “all alone”, or “ascending” and “descending”, he took advantage of every opportunity with this text!

Ne irascaris

There are so many fascinating topics to explore in Early Music, but the real reason I do what I do is the chance to perform gorgeous pieces like this one.

Christmas Oratorio, part 4

No better way to end 2018 than with Part 4 of Bach’s Christmas Oratorio (which roughly coincides with the New Year)!

In dulci jubilo

The best Christmas Carols are the medieval ones! Last week’s Guggenheim concerts included Robert Pearsall’s luscious setting of “In dulci jubilo”, possibly my favorite carol of all. Merry Christmas!

"In dulci jubilo" (Latin for "In sweet rejoicing") is a traditional Christmas carol. In its original setting, the carol is a macaronic text of German and Latin dating from the Middle Ages. Subsequent translations into English, such as J. M. Neale's arrangement "Good Christian Men, Rejoice" have increased its popularity, and Robert Pearsall's 1837 macaronic translation is a mainstay of the Christmas Nine Lessons and Carols repertoire. J. S. Bach's chorale prelude based on the tune (BWV 729) is also a traditional postlude for Christmas services.

The original song text, a macaronic alternation of Medieval German and Latin, is thought to have been written by the German mystic Heinrich Seuse circa 1328.^[1] According to folklore, Seuse heard angels sing these words and joined them in a dance of worship.^[2] In his biography (or perhaps autobiography), it was written:

"In dulci jubilo" The melody as published in the 1582 Finnish music collection Piae Cantiones , which alternates the Latin with Swedish. Song Language German, Latin " In dulci jubilo" ( Latin for "In sweet rejoicing") is a traditional Christmas carol.

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Resonet in Laudibus

Michael Praetorius is a familiar name at this time of year, mainly for the carol “Lo how a rose e’re blooming”. His setting of Resonet in Laudibus for 4 soprano parts is on the program I’m singing tonight! Can’t come? Have a listen to Westminster Abbey’s version instead!