New Music Monday is at its core very simple. Every first Monday of the month for a year, we (two seconds away) wrote, recorded, and released a new song for free! New Music Monday first began in 2008 with a new song every week and all 52 of our original songs are available for purchase from iTunes. Its been awhile since our last release, but you never know when we might surprise you...
New Music Monday is at its core very simple. Every first Monday of the month for a year, we (two seconds away) wrote, recorded, and released a new song for free! New Music Monday first began in 2008 with a new song every week and all 52 of our original songs are available for purchase from iTunes. Its been awhile since our last release, but you never know when we might surprise you...
New Music Monday is at its core very simple. Every first Monday of the month for a year, we (two seconds away) wrote, recorded, and released a new song for free! New Music Monday first began in 2008 with a new song every week and all 52 of our original songs are available for purchase from iTunes. Its been awhile since our last release, but you never know when we might surprise you...
© 2019 OwlTail All rights reserved. OwlTail only owns the podcast episode rankings. Copyright of underlying podcast content is owned by the publisher, not OwlTail. Audio is streamed directly from two seconds away servers. Downloads goes directly to publisher.
Turning Kids Into Grown-Ups. Parenting is fraught with uncertainty, changing with each generation. This hour, TED speakers share ideas about raising kids and how — despite our best efforts — we're probably still doing it wrong. Guests include former Stanford dean Julie Lythcott-Haims, former firefighter Caroline Paul, author Peggy Orenstein, psychologist Dr. Aala El-Khani, and poet Sarah Kay.
Parenting Doesn't Matter (Or Not As Much As You Think). The multibillion-pound parenting industry tells us we can all shape our children to be joyful, resilient and successful. But what if it’s all bunk? Intelligence Squared are bringing together a panel of top geneticists and parenting experts to explore just how important parenting is.Arguing in favour of the motion are Robert Plomin, Psychologist and Professor of Behavioural Genetics at the Institute of Psychiatry, Psychology and Neuroscience at King’s College London; and Stuart Ritchie, Lecturer in the Social Genetic and Developmental Psychiatry Centre at King’s College London.Arguing against the motion were Susan Pawlby, a developmental Clinical Psychologist with over 30 years of experience working with mothers and babies both in clinical and research contexts; and Ann Pleshette Murphy, a therapist, parenting counsellor and advocate for young children and their families.The debate was chaired by Xand van Tulleken, a medical doctor and broadcaster who has presented numerous shows for the BBC and Channel 4, often alongside his identical twin brother Chris. For information regarding your data privacy, visit acast.com/privacy
I've Had Better. [Contains mature themes] He reached out because a year after the discovery of his affair, they aren’t fighting anymore, but they certainly haven’t moved on. Esther guides them towards a more honest conversation, and a revelation about their communication.
01: John Gottman - How to Be a Master of Relationship. Welcome! My guest today is Dr. John Gottman, one of the world's leading experts on how to have an amazing relationship. He and his wife Julie currently operate The Gottman Institute in Seattle, offering numerous resources and training. Join us for a deep dive into their work! Dr. Gottman’s findings are largely based on the conclusions he has made over many years of research and observations of couples. He and his team have how to be a master (and avoid being a disaster) at relationship. Dr. Gottman discusses the following topics: “The Sound Relationship House” - what is the foundation for a relationship that lasts? Learn the importance of having high expectations in relationship, and also uncover ways in which what you'd *think* would be good for your relationship is actually counterproductive. Dr. Gottman identifies Styles of Confronting Conflict: Volatile, Validating, and Conflict-Avoiding. All of these conflict styles can lead to successful relationships. Learn what to do if you and your partner are mismatched in your conflict style. Dr. Gottman discusses “bids” we make with our partner as an attempt to connect. Are you a "yes" to your partner's bids? Are they a yes to yours? “Bids” that fail are often the beginnings of conflict. How do things change if you start paying attention and responding to your partner's bids in a positive way? Mindfulness is the key to noticing these bids and avoiding conflict. “Small Things Often” - a reminder to turn toward these bids in the small moments of life. Dr. Gottman's concept of startup is a way of thinking about what you bring to your interactions with your partner. Do you start in a place that's already positive, and thinking highly of your partner? Or do you start in a place where you are suspecting the worst of your partner? Build up your emotional bank account with small compliments (deposits). According to John, there are three phases of any relationship: Falling in Love (initial), Building Trust (middle), and Cherishing Your Partner (long-term intimacy). What phase are you in? The key to success is using strategies that are appropriate for where you are in your relationship. The key to more sex is having the freedom to say "no" without being punished for it. If refusing sex can actually have a positive payoff, then it will actually lead to a couple having a more satisfying (and frequent) sex life. Do you ever wonder how to make a good relationship GREAT? Focus on cherishing your partner. What if YOU are the only partner who wants to make changes? Can you make a difference? Absolutely. Learn how shifts in your approach can have a profound affect on your relationship. The key to success in a relationship isn't that nothing bad ever happens. It's how well you as a couple learn how to repair after those things occur. John discusses how you can learn to repair, and the positive effects that has on long-term relationships. Do you know how to decide if you’re in a bad relationship? When you're with your partner, are you at your best? Or are you veering off towards your worst? Gottman offers this simple guideline for how to know whether to stay or go. Also what to think about BEFORE you decide that you're on the wrong path. Join us for these topics and more. Dr. Gottman has practical information that can improve your relationship TODAY! Links and Resources: What Makes Love Last: How to Build Trust and Avoid Betrayal by Dr. John Gottman The Gottman Institute, Seattle www.gottman.com www.neilsattin.com/gottman (visit to download a .pdf of this episode guide along with John Gottman's "Dreams in Conflict" exercise to help couples who seem to have irreconcilable differences. You can also text “PASSION” to 33444 for instructions on how to download the guide. If you download the guide within the first week of this show's airing, you will also qualify for a chance to win a free signed copy of Dr. Gottman’s book "What Makes Love Last".) The Relationship Alive Community on Facebook Amazing intro/outro music provided courtesy of: The Railsplitters - Check them Out!
Rank #1: Dance Beats - Sandeep Khurana skivamusic.com. Sandeep Khurana
Rank #2: DJ Beats. DJ Beats
Rank #1: Lullaby. "Lullaby" from Lullaby by John Lee. Released: 2016. Genre: Acoustic.
Rank #2: Celebrate. "Celebrate" from Lullaby by John Lee. Released: 2016. Genre: Acoustic.
Rank #1: half cocked - There's A Heartache Following Me. The Free Music Archive is a non-profit digital library offering free and legal MP3 downloads. It's directed by WFMU,the most renowned freeform radio station in America.
Rank #2: Rolemusic - Neogauge. The Free Music Archive is a non-profit digital library offering free and legal MP3 downloads. It's directed by WFMU,the most renowned freeform radio station in America.
Rank #1: Johann Sebastian Bach - Goldberg Variations #5. JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music. Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III. Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth. His father taught him violin and harpsichord. His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".Bach's mother died in 1694, and his father died eight months later. Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg. There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly. He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob Froberger; North German composers; Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg. Although it is not known for certain, the trip was likely taken mostly on foot. His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords. He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen, Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar. In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians. Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble. He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord), consisting of two books, compiled in 1722 and 1744, each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716. Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713, or if it was performed for the bicentennial of the Reformation in 1717. Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, , the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular, including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos. Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city. In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721. Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig. This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant. Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir. As part of his regular church work, he performed other composers' motets, which served as formal models for his own.Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions". Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer. He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime, it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme. It was only published posthumously in 1751.The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach." Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death. Modern historians speculate that the cause of death was a stroke complicated by pneumonia. His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus. He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy" early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style. Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music. Beethoven described him as the "Urvater der Harmonie", "original father of harmony".Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach. Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion. In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites. Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton. In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder. Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues. At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys. • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes. • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue. The French Suites omit preludes, but have multiple movements between the sarabande and the gigue. The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model. • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27. These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire. Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful. These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost. A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week. Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar. In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas). The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime. All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration. This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.Bach's devout relationship with the Christian God in the Lutheran tradition and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig, and some of his pieces represent it; the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales. The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato. Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" . www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" (PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art , 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" . Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" . baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. pp. 41–43. ISBN 0-393-04825-X. 2. Karl Geiringer, Johann Sebastian Bach: The Culmination of an Era (New York: Oxford University Press, 1966), 13. 3. Rich, Alan (1995). Johann Sebastian Bach: Play by Play. Harper Collins. p. 27. ISBN 0-06-263547-6. 4. Jan Chiapusso, Bach’s World (Scarborough, Ontario: Indiana University Press, 1968), 62. 1. "Classical Net – Basic Repertoire List – Buxtehude" . Classical.net. Retrieved 20 September 2008. 1. Teri Noel Towe, The Portrait in Erfurt Alleged to Depict Bach, the Weimar Concertmeister, August 10 2001, published on The Face of Bach website, now defunct, but available at the Internet Archive at this link (from July 2011) 1. "Baroque Music – Part One" . San Diego State University. Retrieved 19 February 2012. 1. Jan Chiapusso, Bach’s World (Scarborough, Ontario: Indiana University Press, 1968), 168. 2. Albert Schweitzer, J. S. Bach: Volume I (New York: The Macmillan Company, 1950), 331. 1. Weimar (II) 1708-1717let.rug.nl 1. Door Julie Anne Sadie: Companion to Baroque Music 1. ^ a b Christoph Wolff (1995). From konzertmeister to thomaskantor: Bach's cantata production 1713–1723 . p. 17. Retrieved 21 June 2011. 1. John Eliot Gardiner (2010). "Cantatas for Christmas Day / Herderkirche, Weimar" . bach-cantatas.com. p. 1. Retrieved 9 December 2011. 1. Mendel 1999, p. 80 2. Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 57. 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 74. 1. Van Til, Marian (2007). George Frideric Handel: A Music Lover's Guide . New York, US: WordPower. p. 69. ISBN 978-0-9794785-0-5. Retrieved 24 May 2012. 2. Spaeth, Sigmund (1937). Stories Behine the World's Great Music . US: Kessinger Publishing. p. 37. ISBN 978-1-4191133-1-4. Retrieved 24 May 2012. 1. Karl Geiringer, Johann Sebastian Bach: The Culmination of an Era (New York: Oxford University Press, 1966), 50. 2. Wolff 1983, pp. 98, 111 3. Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 1. Christoph Wolff (1991). Bach: Essays on his Life and Music . Retrieved 21 June 2011. 1. Carol Traupman-Carr (2003). "Bach Choir of Bethlehem" . Retrieved 20 February 2012. 2. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 341. ISBN 0-393-04825-X. 3. Gerhard Hertz, Essays on J.S. Bach (Ann Arbor, Michigan: UMI Research Press, 1985), 187. 4. Jan Chiapusso, Bach’s World (Scarborough, Ontario: Indiana University Press, 1968), 277. 1. "The Art of the Fugue" . Pipedreams. American Public Media. Retrieved 21 February 2012. 1. Karl Geiringer, Johann Sebastian Bach: The Culmination of an Era (New York: Oxford University Press, 1966), 256. 2. Hanford, Jan. "J.S. Bach: Timeline of His Life" . jsbach.org. Retrieved 8 March 2012. 3. Mendel 1998, p. 188 4. "The World-Famous Organist, Mr. Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, and Music Director in Leipzig," by Carl Philipp Emanuel Bach and Johann Friedrich Agricola, from Mendel et al (1998), 299 5. Mendel 1998, pp. 191–97 6. Mendel et al (1998), 297 1. Beethoven: the universal composer. Edmund Morris, 2005, 2 ff "[Bach was] mocked as passé even in his own lifetime." 1. Schenk, Erich (1959). Mozart and his times. Knopf. p. 452 2. Kerst, Friedrich (1904). "Beethoven im eigenen Wort" . Die Musik (M. Hesse.) 4: 14–19 3. Geck, Martin. "Johann Sebastian Bach: Life and Work" . Houghton Mifflin Harcourt. Retrieved 22 February 2012. 4. Herbert Kupferberg, Basically Bach: A 300th Birthday Celebration (New York: McGraw-Hill Book Company, 1985), 126. 1. "Robert Johnson and Pablo Casals' Game Changers Turn 70 : NPR" . National Public Radio. Retrieved 22 February 2012. 2. "Musicology – Principal Methodologies for Musicological Research – Musical, Historical, Press, and History – JRank Articles" . Jrank Science Encyclopedia. jrank.org. Retrieved 22 February 2012. 3. "Biography of Johann Sebastian Bach – PianoParadise" . PianoParadise.com. Retrieved 22 February 2012. 4. "Golden Record Music List" . NASA. Retrieved July 26, 2012. 5. "About Schmieder (BWV) numbers at the Junior Bach Festival" . Retrieved 22 February 2012. 1. "Complete Works\by BWV Number-All" . jsbach.org. Retrieved 22 February 2012. 2. "Bach, Johann Sebastian" . ClassicalPlus. Retrieved 19 May 2008. 1. "Arnstadt (1703–1707)" . Northern Arizona University. Retrieved 19 May 2008. 1. Albert Schweitzer, J. S. Bach: Volume I (New York: The Macmillan Company, 1950), 333. 1. Tomita, Yo. "J. S. Bach: Inventions and Sinfonias" . Retrieved 22 February 2012. 2. "English Suites BWV 806-811 – Sheet Music | Musopen" . Retrieved 22 February 2012. 1. Traupman-Carr, Carol. "French Suites 1-6" . Bach 101. The Bach Choir of Bethlehem. Retrieved 22 February 2012. 2. McComb, Todd M.. "Bach, Partitas, BWV 825-30" . Retrieved 22 February 2012. 3. Libbey, Ted. "Gold Standard for Bach's 'Goldberg Variations' : NPR" . NPR Music. National Public Radio. Retrieved 22 February 2012. 4. Bratman, David. "Shaham: Bold, Brilliant, All-Bach" . San Francisco Classical Voice. Retrieved 23 February 2012. 1. "Baroque Music | About the "Baroque" Period | Music of the Baroque" . baroque.org. Retrieved 23 February 2012. 1. Traupman-Carr, Carol. "A compendium of works performed by the Bach Choir" . Bach 101. Bach Choir of Bethlehem. Retrieved 23 February 2012. 2. Traupman-Carr, Carol. "Bach, Master of the Cantata" . Bach 101. Bach Choir of Bethlehem. Retrieved 23 February 2012. 3. Traupman-Carr, Carol. "Cantata BWV 211 "Coffee Cantata"" . Bach Choir of Bethlehem. Retrieved 23 February 2012. 1. Leaver, Robin A. (1999). Oxford Composer Companions: J. S. Bach. Oxford University Press. pp. 430. 1. Peter, Williams (2004). The Life of Bach. Cambridge: Cambridge University Press. pp. 114. 2. Traupman-Carr, Carol. "The Christmas Oratorio, BWV 248" . Bach Choir of Bethlehem. Retrieved 23 February 2012. 1. "The Mass in B Minor, BWV 232" . Bach Choir of Bethlehem. Retrieved 23 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 166. ISBN 0-393-04825-X. 2. Donington, Robert (1982). Baroque music: style and performance: a handbook . New York, NY, 10110: W. W. Norton & Company. pp. 91. ISBN 0-393-30052-8. 1. "Did Bach intend Art of Fugue to be performed?" . The Art of the Fugue. American Public Media. Retrieved 25 February 2012. 1. Herl, J.Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict . New York: Oxford University Press, 2004. 1. Leaver, R.A.Luther's Liturgical Music . Grand Rapids, Michigan: Eerdmans Publishing, 2007. 1. For example, see Grove, G.The New Grove Dictionary of Music and Musicians. Vol. 4. New York: Macmillian, 1980. 335. 1. Huizenga, Tom. "A Visitor's Guide to the St. Matthew Passion" . NPR Music. National Public Radio. Retrieved 25 February 2012. 2. Traupman-Carr, Carol. "EASTER ORATORIO (Oster-Oratorium) BWV 249" . Bach Choir of Bethlehem. Retrieved 25 February 2012. 1. Schulenberg, David. The Keyboard Works of J.S. Bach . CRC Press. pp. 1–2. 1. Newman, Anthony. "Anthony Newman" . Retrieved 25 February 2012. 2. Traupman-Carr, Carol. "The Well Tempered Clavier BWV 846-869" . Bach Choir of Bethlehem. Retrieved 25 February 2012. 1. "Baroque Music" . Retrieved 23 February 2012. • FROM WIKIPEDIA
Rank #2: Allemande in Am (HWV 478) HANDEL . George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.comGeorg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity. Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust. His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg. According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep". At an early age Handel became a skillful performer on the harpsichord and pipe organ.Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian, who was serving as valet to Duke Johann Adolf I. Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle; and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt. There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705. He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg. Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707. Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style, applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain. He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works. This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington. For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems. Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas. Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low and sold before 1720.Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers. Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis. By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life. This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum. During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived, was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since. In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time. After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house. Between 1711 and 1739, more than 25 of Handel's operas premièred there. In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music. After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias. Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act. Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing. In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly . To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure. Another 12 years had passed when an act of piracy caused him to take up Esther once again. Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems and Athaliah, his first English Oratorio. In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios. Handel became sure of himself, broader in his presentation, and more diverse in his composition.It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus. Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas. Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life. The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy". Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule. Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background. L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals. His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating. Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance. In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death. His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands. In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey. More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.Handel owned an art collection that was auctioned posthumously in 1760. The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection, and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since. Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle. Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt." To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb". Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete. Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia
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Rank #1: Amazing Grace. Amazing Grace is the most popular song on Earth. It has been sung more times by more people in more languages, than any other song in the history of the planet. Amazing Grace is probably one of the best known hymns in the world today. The words tell of the grace of God - the gift of forgiveness and life that he gives to us freely.A rendition of Amazing Grace by Judy Collins went to the top of the popular music charts in the U.S. in the 1970s. It was the first and only time a spiritual song has done this.The hymn was written by John Newton, an English man who was born in 1725.(more info on Newton below) During the first 30 years of his life, Newton was certainly a miserable, unhappy, and mean person--in other words, "a wretch." As a child he was rebellious and constantly in trouble. As a young man he used profanity, drank excessively, and went through periods of violent, angry behavior. When Newton was in his early twenties, he became involved in the slave trade: living in Africa, hunting down slaves, and managing a "slave factory" (where the unfortunate captives were held for sale). Later he was the captain of a slave ship which made three voyages from Great Britain to Africa (where he loaded a cargo of slaves) and finally to America to sell them. During one voyage he cried out to God for mercy as the ship was tossed about in a storm. His ship was spared and John Newton began his walk towards Christ. He continued to be a slave trader for some years but there was a slow transformation and within the next 20 years Newton had given up this life and had become the parish priest of Olney, a village near London. Whilst here he wrote the the words to the famous hymn, Amazing Grace. (compiled from various sources on the Internet)This NEW BLUEGRASS VERSION of this Classic HYMN was produced by Shiloh Worship Music. We pray this song blesses you and draws you into His Amazing Presence. It is a bluegrass version of the tune, with Banjo,Guitar, Acoustic Bass, Mandolin and Fiddles . Vintage footage from Appalachia accompanies this traditional Bluegrass hymnVISIT OUR YouTube CHANNEL http://www.youtube.com/user/ShilohWorshipGroupWords: John Newton (1715-1807)Music: American melody from Carrell's and Clayton's Virginia Harmony (1831) AMAZING GRACED G DAmazing grace! How sweet the sound D AThat saved a wretch like me! D G DI once was lost but now I'm found; Bm D A DWas blind, but now I see.'Twas grace that taught my heart to fearAnd grace my fears relieved.How precious did that grace appearThe hour I first believed!The Lord has promised good to me;His Word my hope secures.He will my shield and portion beAs long as life endures.Through many dangers toils and snaresI have already come.'Tis grace hath brought me safe thus farAnd grace will lead me home.When we've been there ten thousand years,Bright shining as the sun,We've no less days to sing God's praiseThan when we first begun.© 2012 Shiloh Worship Music COPY FREELY;This Music is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted.www.shliohworshipmusic.comJohn NewtonFrom Wikipedia, the free encyclopediaJohn Newton.John Henry Newton (July 24, 1725 December 21, 1807) was a British sailor and Anglican clergyman. Starting his career at sea, at a young age, he became involved with the slave trade for a few years. After experiencing a religious conversion, he became a minister, hymn-writer, and later a prominent supporter of the abolition of slavery. He was the author of many hymns, including "Amazing Grace" and "Glorious Things of Thee are Spoken."Early lifeJohn Newton was born in Wapping, London, in 1725, the son of John Newton Sr., a shipmaster in the Mediterranean service, and Elizabeth Newton (née Seatclife), a Nonconformist Christian. His mother died of tuberculosis in July, 1732, about two weeks before his seventh birthday. Two years later, he went to live in Aveley, the home of his father's new wife. Newton spent two years at boarding school. At age eleven he went to sea with his father. Newton sailed six voyages before his father retired in 1742. Newton's father made plans for him to work at a sugar plantation in Jamaica. Instead, Newton signed on with a merchant ship sailing to the Mediterranean Sea.In 1743, while on the way to visit some friends, Newton was captured and pressed into the naval service by the Royal Navy. He became a midshipman aboard HMS Harwich. At one point, Newton attempted to desert and was punished in front of the crew of 350. Stripped to the waist, tied to the grating, he received a flogging of one dozen lashes, and was reduced to the rank of a common seaman.[unreliable source?]Following that disgrace and humiliation, Newton initially contemplated suicide.[unreliable source?] He recovered, both physically and mentally. Later, while Harwich was on route to India, he transferred to Pegasus, a slave ship bound for West Africa. The ship carried goods to Africa, and traded them for slaves to be shipped to England and other countries.Newton proved to be a continual problem for the crew of Pegasus. They left him in West Africa with Amos Clowe, a slave dealer. Clowe took Newton to the coast, and gave him to his wife Princess Peye, an African duchess. Newton was abused and mistreated along with her other slaves. It was this period that Newton later remembered as the time he was "once an infidel and libertine, a servant of slaves in West Africa."Early in 1748 he was rescued by a sea captain who had been asked by Newton's father to search for him. And he made it to freedom.In 1750 he married his childhood sweetheart in St. Margaret's Church, Rochester.Spiritual conversionHe sailed back to England in 1748 aboard the merchant ship Greyhound, which was carrying beeswax and dyer's wood, now referred to as camwood. During this voyage, he experienced a spiritual conversion. The ship encountered a severe storm off the coast of Donegal and almost sank. Newton awoke in the middle of the night and finally called out to God as the ship filled with water. After he called out, the cargo came out and stopped up the hole, and the ship was able to drift to safety. It was this experience which he later marked as the beginnings of his conversion to evangelical Christianity. As the ship sailed home, Newton began to read the Bible and other religious literature. By the time he reached Britain, he had accepted the doctrines of evangelical Christianity. The date was March 10, 1748, an anniversary he marked for the rest of his life. From that point on, he avoided profanity, gambling, and drinking. Although he continued to work in the slave trade, he had gained a considerable amount of sympathy for the slaves. He later said that his true conversion did not happen until some time later: "I cannot consider myself to have been a believer in the full sense of the word, until a considerable time afterwards."Newton returned to Liverpool, England and, partly due to the influence of his father's friend Joseph Manesty, obtained a position as first mate aboard the slave ship Brownlow, bound for the West Indies via the coast of Guinea. During the first leg of this voyage, while in west Africa (1748–1749), Newton acknowledged the inadequacy of his spiritual life. While he was sick with a fever, he professed his full belief in Christ and asked God to take control of his destiny. He later said that this experience was his true conversion and the turning point in his spiritual life. He claimed it was the first time he felt totally at peace with God.Still, he did not renounce the slave trade until later in his life. After his return to England in 1750, he made three further voyages as captain of the slave-trading ships Duke of Argyle (1750) and African (1752–1753 and 1753–1754). He only gave up seafaring and his active slave-trading activities in 1754, after suffering a severe stroke, but continued to invest his savings in Manesty's slaving operations."Anglican priestIn 1755 Newton became tide surveyor (a tax collector) of the port of Liverpool, again through the influence of Manesty. In his spare time, he was able to study Greek, Hebrew, and Syriac. He became well known as an evangelical lay minister. In 1757, he applied to be ordained as a priest in the Church of England, but it was more than seven years before he was eventually accepted.Such was his frustration during this period of rejection that he also applied to the Methodists, Independents and Presbyterians, and applications were even mailed directly to the Bishops of Chester and Lincoln and the Archbishops of Canterbury and York.Eventually, in 1764, he was introduced by Thomas Haweis to Lord Dartmouth, who was influential in recommending Newton to the Bishop of Chester, and who suggested him for the living of Olney, Buckinghamshire. On 29 April 1764 Newton received deacon's orders, and finally became a priest on June 17.As curate of Olney, Newton was partly sponsored by an evangelical philanthropist, the wealthy Christian merchant John Thornton, who supplemented his stipend of £60 a year with £200 a year "for hospitality and to help the poor". He soon became well known for his pastoral care, as much as for his beliefs, and his friendship with Dissenters and evangelical clergy caused him to be respected by Anglicans and Nonconformists alike. He spent sixteen years at Olney, during which time so popular was his preaching that the church had a gallery added to accommodate the large numbers who flocked to hear him.Some five years later, in 1772, Thomas Scott, later to become a biblical commentator and co-founder of the Church Missionary Society, took up the curacy of the neighbouring parishes of Stoke Goldington and Weston Underwood. Newton was instrumental in converting Scott from a cynical 'career priest' to a true believer, a conversion Scott related in his spiritual autobiography The Force Of Truth (1779).In 1779 Newton was invited by John Thornton to become Rector of St Mary Woolnoth, Lombard Street, London, where he officiated until his death. The church had been built by Nicholas Hawksmoor in 1727 in the fashionable Baroque style. Newton then became one of only two evangelical preachers in the capital, and he soon found himself gaining in popularity amongst the growing evangelical party. He was a strong supporter of evangelicalism in the Church of England, and remained a friend of Dissenters as well as Anglicans.Many young churchmen and others enquiring about their faith visited him and sought his advice, including such well-known social figures as the writer and philanthropist Hannah More, and the young Member of Parliament, William Wilberforce, who had recently undergone a crisis of conscience and religious conversion as he was contemplating leaving politics. Having sought his guidance, Newton encouraged Wilberforce to stay in Parliament and "serve God where he was".In 1792, he was presented with the degree of Doctor of Divinity by the College of New Jersey (now Princeton University).AbolitionistNewton in his later yearsIn 1788, 34 years after he had retired from the slave trade, Newton broke a long silence on the subject with the publication of a forceful pamphlet "Thoughts Upon the Slave Trade", in which he described the horrific conditions of the slave ships during the Middle Passage, and apologized for "a confession, which ... comes too late ... It will always be a subject of humiliating reflection to me, that I was once an active instrument in a business at which my heart now shudders." A copy of the pamphlet was sent to every MP, and sold so well that it swiftly required reprinting.Newton became an ally of his friend William Wilberforce, leader of the Parliamentary campaign to abolish the slave trade. He lived to see the passage of the Slave Trade Act 1807.Newton has been called hypocritical by some modern writers for continuing to participate in the slave trade while holding strong Christian convictions. Newton later came to believe that during the first five of his nine years as a slave trader he had not been a Christian in the full sense of the term: "I was greatly deficient in many respects ... I cannot consider myself to have been a believer in the full sense of the word, until a considerable time later." Although this "true conversion" to Christianity also had no immediate impact on his views on slavery, he eventually came to revise them.Writer and hymnistThe vicarage in Olney where Newton wrote the hymn that would become "Amazing Grace".In 1767 William Cowper, the poet, moved to Olney. He worshipped in the church, and collaborated with Newton on a volume of hymns, which was eventually published as Olney Hymns in 1779. This work had a great influence on English hymnology. The volume included Newton's well-known hymns "Glorious Things of Thee are Spoken", "How Sweet the Name of Jesus Sounds!", "Let Us Love, and Sing, and Wonder", "Come, My Soul, Thy Suit Prepare", "Approach, My Soul, the Mercy-seat", and "Faith's Review and Expectation", which has come to be known by its opening phrase, "Amazing Grace".Many of Newton's (as well as Cowper's) hymns are preserved in the Sacred Harp. He also contributed to the Cheap Repository Tracts.CommemorationThe gravestone of John Newton in Olney with the epitaph he penned. ■ The town of Newton, Sierra Leone is named after John Newton. To this day there is a philanthropic link between John Newton's church of Olney and Newton, Sierra Leone. ■ Newton was recognized for his hymns of longstanding influence by the Gospel Music Association in 1982 when he was inducted into the Gospel Music Hall of Fame.
Rank #2: Nothing But The Blood . Robert Lowry (1826-1899)Nothing But The Blood1. What can wash away my sin? Nothing but the blood of Jesus; What can make me whole again? Nothing but the blood of Jesus.Chorus: Oh! Precious is the flow That makes me white as snow; No other fount I know, Nothing but the blood of Jesus.2. For my pardon, this I see, Nothing but the blood of Jesus; For my cleansing, this my plea, Nothing but the blood of Jesus. (Repeat chorus)3. Nothing can for sin atone, Nothing but the blood of Jesus Naught of good that I have done, Nothing but the blood of Jesus. (Repeat chorus)4. This is all my hope and peace, Nothing but the blood of Jesus; This is all my righteousness, Nothing but the blood of Jesus. (Repeat chorus)Public DomainCOPY FREELY;©2011 Shiloh Worship MusicThis Music is copyrighted to prevent misuse, however,permission is granted for non-commercial copying only. Written by Robert Lowry (1826-1899) Public Domain
Rank #1: Silent Night-Longer Version. Longer Version of Silent Night. The origin of the Christmas carol we know as Silent Night was a poem that was written in 1816 by an Austrian priest called Joseph Mohr. On Christmas Eve in 1818 in the small alpine village called Oberndorf it is reputed that the organ at St. Nicholas Church had broken. Joseph Mohr gave the poem of Silent Night (Stille Nacht) to his friend Franz Xavier Gruber and the melody for Silent Night was composed with this in mind. The music to Silent Night was therefore intended for a guitar and the simple score was finished in time for Midnight Mass. Silent Night is the most famous Christmas carol of all time!Silent night, holy night All is calm, all is bright Round yon Virgin Mother and Child Holy Infant so tender and mild Sleep in heavenly peace Sleep in heavenly peace Silent night, holy night! Shepherds quake at the sight Glories stream from heaven afar Heavenly hosts sing Alleluia! Christ, the Saviour is born Christ, the Saviour is born Silent night, holy night Son of God, love's pure light Radiant beams from Thy holy face With the dawn of redeeming grace Jesus, Lord, at Thy birth Jesus, Lord, at Thy birth "COPY FREELY ©2011 Shiloh Worship Music-This Music Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying only.Traditional Hymn-Public Domain Www.ShilohWorshipMusic.com
Rank #2: Angels We Have Heard On High (Gloria, in excelsis Deo!). Traditional French carol (Les Anges dans Nos Campagnes); translated from French to English by James Chadwick in Crown of Jesus, 1862. Music: Gloria (Barnes), French carol melodyAngels we have heard on high Sweetly singing o’er the plains, And the mountains in reply Echoing their joyous strains.RefrainGloria, in excelsis Deo! Gloria, in excelsis Deo!Shepherds, why this jubilee? Why your joyous strains prolong? What the gladsome tidings be Which inspire your heavenly song?RefrainCome to Bethlehem and see Christ Whose birth the angels sing; Come, adore on bended knee, Christ the Lord, the newborn King.RefrainCOPY FREELY ©2011 Shiloh Worship Music-This Music Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying only.Traditional Hymn-Public Domain www.shilohworshipmusic.com
Rank #1: One Hit Wonders. Some One Hit Wonders From The 80's
Rank #2: Classic Rock. Classic Rock
Rank #1: Beyonce, Whitney Houston & Kygo, Noah Cyrus, Haim and More. Billboard staffers talk Beyonce's 'The Lion King: The Gift,' Whitney Houston & Kygo's "Higher Love," Noah Cyrus' "July," Haim's "Summer Girl," ShooterGang Kony's "Charlie" and Charli XCX and Christine and the Queens' "Gone." For information regarding your data privacy, visit acast.com/privacy
Rank #2: Haim, Justin Bieber, Feist, Hailee Steinfeld & More: Must-Hear Music Podcast. Billboard staffers discuss DJ Khaled's "I'm the One" ft. Justin Bieber, Quavo, Chance the Rapper and Lil Wayne, Katy Perry's "Bon Appetit" ft. Migos, Haim's "Right Now," Hailee Steinfeld's "Most Girls," Feist's "Pleasure" and Foster the People's "SHC." For information regarding your data privacy, visit acast.com/privacy
Rank #1: The Mp3 Experiment Fifteen. The Mp3 Experiment Fifteen
Rank #1: Pure Heart Of Devotion. This song is a heart cry prayer to the Lord Jesus put to music. It is expression of First Love for the Saviour put to music.Written during a time of revival and evangelism, this song captures the sentiment felt of new converts to this call to follow the Lord Jesus with complete abandonmentin true Biblical Discipleship.Luke 14:27 &33 "And whosoever doth not bear his cross, and come after me, cannot be my disciple. . 33 So likewise, whosoever he be of you that forsaketh not all that he hath, he cannot be my disciple"Lyrics and guitar chords belowOur prayer is that this simple song would draw you intoFirst Love for our Lord and Saviour Jesus ChristCome and check out our YouTube channel: https://www.youtube.com/user/ShilohWorshipGroup/videos EmPure Heart Of DevotionCPure Heart Of DevotionEm DPure Heart Of Devotion To You 2xGFor The Things DOf This WorldC DDon't Mean A Thing To MeG D CI Only Want To Follow You 2x© 1997-2015 Shiloh Worship Music COPY FREELY;This Music is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted www.shilohworshipmusic.comFREE WORSHIP MUSICOriginal Worship music SUBSCRIBE in iTunes We Love Jesus, we are simple christian disciples of Jesus using our gifts to lavish our love and lives for Him. To point others to Jesus. our music is simple-most of these original songs are prayers to Jesus set to music. Although our music is copyrighted ©2000-2013 Shiloh Worship Music, to prevent misuse, feel free to pass this music around for any and all non-commercial use. Jesus said, "freely you have received, freely give!"
Rank #2: Worthy Is the Lamb. A new original mellow Worship song we wrote and produced entitled, “Worthy Is the Lamb”, Guitars, Piano, Electric Bass, Drums, Keyboard, Vocals.Blessings to You,Shiloh Worship MusicWww.ShilohWorshipMusic.comWorthy Is the Lamb© 2012 Shiloh Worship Music Oh How We Love YouOh How We Love YouOh How We Love YouJesus, The Lamb of GodAlmighty GodWe Worship You AloneWorthy Is the LambUpon the ThroneThe Lord Is My ShepherdI Shall Not WantHe Leads Me besideThe Waters StillBlessed Are the PoorFor Theirs Is the Kingdom of GodThey Shall See His FaceOne DayLet Your Kingdom ComeAnd Your Will on Earth Be DoneJesus, We Wait for You!© 2012 Shiloh Worship Music COPY FREELY;This Music is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted www.shilohworshipmusic.com
Rank #1: 1 - Everything Has Changed - Swiftcast: The #1 Taylor Swift Podcast. Thank you for downloading the debut episode of Swiftcast: The #1 Taylor Swift podcast! Our show began in 2013 and has evolved with Taylor every step of the way. We encourage you to listen to our recent episodes and get involved with the show!In this episode, meet the hosts! Get the scoop on Taylor's ACM performance with Tim McGraw and Keith Urban! Get acquainted with our mini segments and learn how you can submit! Become inspired by Taylor and her charitable giveaways!Be sure to visit us on our website at http://www.swiftcast13.com to find all our episodes, how to contact the hosts, and our latest news and giveaways!Thanks for listening! Don't forget to subscribe to us on iTunes and leave us a review and a 5 star rating!
Rank #2: 250 - Reputation Stadium Tour - Swiftcast: The #1 Taylor Swift Podcast. We catch you up on everything related to the Reputation Stadium Tour, along with updates on Taylor news! Thank you for listening! If you enjoyed the show, please subscribe to us on iTunes and it will download our latest episode for you automatically. Also, be sure to leave us a review and a 5 star rating to help other people find our show easier!
Rank #1: Wiz Khalifa ft Charlie Puth - See you again (G Duppy Reggae Remix). Wiz Khalifa ft Charlie Puth - See you again (G Duppy Reggae Remix)
Rank #2: Club Rewind Mix - Vol. 4. Mixed by DJ Erik Gulo Playlist: Flo Rida - In The Ayer New Boyz feat. Dev - Backseat DJ Serg - In The G6 - (Dancing In The Dark Mix) Far East Movement feat. The Cataracs & Dev - Like A G6 Hyper Crush - Kick Us Out Bobby Valentino feat. Timbaland - Anonymous (Reaver's Remix) Nicki Minaj feat. Ester Dean - Super Bass Pitbull Feat. Kesha - Timber Vs. Do You Remember Sean Kingston feat. Fabolous & Lil' Boosie - Beautiful Girls (Remix) Mariah Carey feat. OJ Da Juiceman, Big Boi & Gucci Mane - H.A.T.E.U (Remix) DJ SLICK - Show Me The Ish Usher feat. Will.I.Am, DJ Class & Fatman Scoop - OMG (DJ Class Remix) Ne-Yo - Beautiful Monster Black Eyed Peas - Boom Boom Pow Flo rida - Good Feeling Taio Cruz feat. Travie McCoy - Higher Pitbull feat. T-Pain - Hey Baby Enrique Iglesias feat. T.I. - I Like It (Remix) Britney Spears - Till The World Ends
Rank #1: Episode 33: "The Mistress". "Mistress," sa tuwing maririnig natin ang salitang yan ay isa lang ang pumapasok sa ating isipan, masama silang tao. Sila yung mga babaeng sumisira ng pamilya. Paano nga ba matatakasan ng isang lalaki ang tuksong hatid ng mga katulad nila?
Rank #2: Episode 47: "I Love You BF ni Ate". Anong gagawin mo kung isang araw naramdaman mo na lang na crush mo ang bf ng ate mo? Pakinggan ang blockbuster story ni Jena na pinag-usapan sa social media dito sa Barangay Love Stories Podcast.