The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
Mass in B minor BWV 232: I. Kyrie: Kyrie eleison
Johann Sebastian Bach Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
The song "Kyrie Eleison" is a part of the larger work by Johann Sebastian Bach, known as the Mass in B minor BWV 232. The lyrics "Kyrie Eleison" are actually Greek, and they translate to "Lord, have mercy." This song is a plea for mercy and a humbling recognition of one's own flaws and shortcomings.
The song begins with a repetition of the phrase "Kyrie Eleison" twelve times, emphasizing its importance and urgency in the plea for mercy. The repetition of this phrase also serves as a structure for the song and creates a sense of unity and continuity within the piece. Each repetition builds upon the previous one, leading to a sense of mounting desperation.
The music itself is characterized by its soaring, almost ethereal quality, with a focus on the vocal harmonies and intricate counterpoint. The use of minor key tonality adds to the somber, reflective tone of the piece. The music starts softly and builds in intensity, adding layers of complexity and emotion with each repetition of the phrase.
Overall, the song "Kyrie Eleison" is a powerful expression of the human need for mercy and forgiveness. Its combination of expressive music and simple yet profound lyrics make it a timeless masterpiece that continues to resonate with audiences today.
Line by Line Meaning
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Kyrie Eleison
Lord have mercy
Kyrie Eleison
Christ have mercy
Writer(s): Johann Sebastian Bach
Contributed by Eliana O. Suggest a correction in the comments below.
@pannonia77
Orchestras with period instruments hardly ever play Bach at a'=440 Hz, they generally play Bach at a'=415 Hz, i.e. a semitone below today's standard. (Already Nikolaus Harnoncourt's first Bach recordings in the '60s, i.e. more than 50 years ago ! used this pitch standard. And every Bach recording made on period instruments ever since are at this pitch.) So the leading orchestras do not use today's pitch standard.
You may check some of my other Bach videos, they are all a semitone below modern pitch:
Missa in A major BWV 234 - Herreweghe: https://www.youtube.com/watch?v=FFGUGlWVwrY&list=PL2k8ekJXk4nXBQVaZZJTZ9YqKL0CkXhCF
Christmas Oratorio - Koopman: https://www.youtube.com/watch?v=DYc4LlsthAg&list=PL2k8ekJXk4nUZOakJFh1BWiZG50Z9ERLZ
St. John Passion - René Jacobs: https://www.youtube.com/watch?v=quBYEomIAZM&list=PL2k8ekJXk4nUVeflR4DaZvlbn3M7g5FZM
Händel as well:
Messiah - Gardiner: https://www.youtube.com/watch?v=KyQ3CU93i7E&list=PL2k8ekJXk4nXLCbHx5AteWsek1q3k0BfH
Ode for the birthday of Queen Anne - Simon Preston: https://www.youtube.com/watch?v=7MDfILJ3kaQ&list=PL2k8ekJXk4nXSgDLAq6zEBiynu8OXivP9
Water Music - Harnoncourt: https://www.youtube.com/watch?v=wELZrRz0RAA&list=PL2k8ekJXk4nUZ5QmnbwDlfF8Iqy6PW2Wg
Pachelbel: Canon - Il Giardino Armonico https://www.youtube.com/watch?v=zi2G1-nTNoI
Vivaldi: La Follia - Il Giardino Armonico https://www.youtube.com/watch?v=TjsRheVIADs
Viennese Classicism is generally played at around a'=430 Hz, i.e. a fourth-tone below today's standard:
Haydn: Paukenmesse - Harnoncourt https://www.youtube.com/watch?v=lQMvIQM0AuI&list=PL2k8ekJXk4nVYYTik9Bku_REyOLn_O3a1
Beethoven: Mass in C major - Hickox https://www.youtube.com/watch?v=3czPtuqqLe8&list=PL2k8ekJXk4nXo3ZNeI8sYDT4bDs-VhyhY
@johnsardo7499
The first four bars just flatten me every time I hear it. Sublime beyond words.
@riverstun
I can't figure it out. Loads of diminished 7ths, starts on the tonic triad, ends on the dominant major triad.. what happens in between I dont know. But yes, those four bars - if nothing else survived of Bach, his reputation as a master composer would be established.
@neilwalsh3977
@@riverstun the key to Bach are those diminished chords. They allow you to modulate as emotion moves you?
@Jimbarleyy
0:17 - 0:34 This always gets me, i just imagine a higher power roaming the earth.
@hoon_sol
@@riverstun:
The only way to understand Bach is to go back to the roots of true polyphony and to realize that music has only gotten progressively worse since his time, with e.g. Mozart, despite being believed by the hoi polloi to be a "master composer", just using simple harmonic concepts that grew out of the polyphonic tradition Bach was the apotheosis of.
In short, all the modern concepts of functional harmony are just oversimplifications of Bach's true polyphony, where multiple independent voices are moving in and out of phase with one another harmonically, so attempting to frame it through functional harmony alone is a futile endeavor; it's like trying to squeeze a marvelously complex structure like a stellated dodecahedron through a square hole.
@Chuzini
I sang high soprano in college. We did this in my freshman year. There's no high like it. It was so demanding and the rewards were so great.
@marcossidoruk8033
A 5 voice fugue in the chorus and 3 voice free counterpoint in the orchestra, the result, an 8 voice monster that still sounds fucking awesome. Simply J.S. Bach
@aggelos8256
Who are you?
@marcossidoruk8033
@@aggelos8256 your mom
@pseunition6038
@@marcossidoruk8033 hot