By C. S. Fuqua
Within the past due Sixties and early Nineteen Seventies, mythical artists like Aretha Franklin, the Rolling Stones, Willie Nelson and Bob Dylan traveled to North Alabama to list with the Muscle Shoals Rhythm part, often referred to as the Swampers. yet Alabama hasn't simply attracted musical stars with its talent--it additionally has a background of making stars of its personal. subscribe to writer and musician C.S. Fuqua as he showcases the breadth of Alabama's musical expertise throughout the profiles and tales of its ancient performers and innovators. From the "father of the blues," W.C. convenient, to Hank Williams, the originator of recent state song, to folks song hero Odetta and everybody in among, this is often an remarkable compendium of Alabama's groundbreaking song makers.
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Additional resources for Alabama Musicians: Musical Heritage from the Heart of Dixie
But alas! the pain of Eternity just has no end; It drives on and on its play of torment; Yes—as Jesus Himself says— From it there is no redemption. -J. Schulze, ‘Texte und Textdichter’, in C. ), Die Welt der Bach-Kantaten, 3 (Stuttgart, 1999), 116. 32 introduction Often, however, the paraphrase departs a good deal further from its model; and elsewhere free verse enters as a ‘troping’ insertion between chorale lines retained in their original wording (in the above example, the last line is preserved in its original form).
The pupils at the Thomasschule were chieﬂy responsible for the music at the main Leipzig churches. According to school regulations issued in 1723,16 thirtytwo of the ﬁfty-ﬁve pupils were expected to participate in church music, and they were to be divided into four cantorates of eight members each. 18 The ﬁrst two cantorates discharged their duties on alternate Sundays in the Thomaskirche and the Nicolaikirche—the latter was the true principal church—while the third cantorate had to sing only motets in the Neue Kirche, and the fourth nothing but unison chorales in the Peterskirche.
S. Bachs’, BJ 1985, 159–64, by K. Hofmann, ‘Neue Überlegungen zu Bachs Weimarer Kantaten-Kalender’, BJ 1993, 9–29, and by Kobayashi, ‘Quellenkundliche Überlegungen’. 8 See A. Dürr, ‘Merkwürdiges in den Quellen zu Weimarer Kantaten Bachs’, BJ 1987, 151–7. 9 See Hofmann, ‘Neue Überlegungen’. development of the bach cantata 15 Weimar are similarly fashioned in cantata form. He also wrote occasional cantatas of various kinds, among which is the text of Bach’s aforementioned ‘Hunt’ Cantata BWV 208 for Weißenfels.