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Johann Kuhnau
Person · male · Holy Roman Empire · Geising · born 1660 · died 1722 · recording since 1995
German composer, organist and harpsichordist
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Also known as 庫勞
Timeline
9 events▣ Album 6◦ Birth 1† Death 1★ Debut release 1
1660s
1720s
1990s
· Debut release
Debut release: The Biblical Sonatas (Harpsichord, Clavichord & Organ: John Butt)
First documented Album in the MusicBrainz discography.
source: musicbrainz
· Album
Album: The Biblical Sonatas (Harpsichord, Clavichord & Organ: John Butt)
Album
source: musicbrainz
2010s
2020s
Biography
English biography1,829 words · 10 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1352862892
Biography
Johann Kuhnau (German: [ˈkuːnaʊ]; 6 April 1660 – 5 June 1722) was a German polymath, known primarily as a composer today. He was also active as a novelist, translator, lawyer, and music theorist, and was able to combine these activities with his duties in his official post as Thomaskantor in Leipzig, which he occupied for 21 years. Much of his music, including operas, masses, and other large-scale vocal works, is lost. His reputation today rests on his Biblical Sonatas, a set of programmatic keyboard sonatas published in 1700, in which each sonata depicted in detail a particular story from the Bible. After his death, Kuhnau was succeeded as Thomaskantor by Johann Sebastian Bach.
Biography
Much of the biographical information on Kuhnau is known from an autobiography published by Johann Mattheson in 1740 in his Grundlage einer Ehrenpforte. Kuhnau's Protestant family were originally from Bohemia, and their name was Kuhn. Kuhnau was born in Geising, present-day Saxony. His musical talents were apparent early, and in around 1670, he was sent to Dresden to study with court musicians there. During the next decade, he studied keyboard playing and music composition, as well as French and Italian. In 1680, an offshoot of the Great Plague of Vienna reached Dresden, and Kuhnau returned home. He subsequently studied music at the Johanneum in Zittau, and then law at Leipzig University. Exceptionally active as a composer and performer during his university years, he was appointed organist of Leipzig's Thomaskirche in 1684, at the age of 24.
In 1688, Kuhnau completed his dissertation and began practising law. He was still working as an organist and continued composing. In 1689 he published his first collection of keyboard works, followed by three more in 1692, 1696, and 1700. During the 1690s, he translated a number of books into German from Italian and French, completed and published his best-known novel, the satirical Der musicalische Quack-Salber (1700), and devoted his spare time to studying various subjects such as mathematics, Hebrew and Greek. In 1701 he succeeded Johann Schelle as Thomaskantor and kept the position until his death. Although he was successful in directing the many musical activities of the Thomaskirche and teaching at Thomasschule, Kuhnau started suffering from bad health. Scholar Willi Apel noted that the job was "as vexatious and difficult for him as for his successor, J.S. Bach." Not only health troubles, but also efforts by rival musicians and composers such as Georg Philipp Telemann and Kuhnau's own student Johann Friedrich Fasch, undermined his activities as Kantor.
Kuhnau died in Leipzig on 5 June 1722. He was survived by three daughters, from a marriage of 1689. His pupils included not only Fasch, but also Johann David Heinichen and Christoph Graupner.
Music
Kuhnau's reputation today rests on four collections of music for keyboard, which he published in 1689–1700. Particularly important is the last volume, titled Musicalische Vorstellung einiger biblischer Historien, and known popularly as the Biblical Sonatas. It contains six sonatas, each outlining a biblical story in several contrasting movements:
The Fight between David and Goliath
Saul's melancholy cured by the music played by David on his harp
Jacob's Wedding
Hezekiah's sickness and restoration
Gideon, Saviour of Israel
Jacob's Death and Burial
Kuhnau uses a wide variety of musical devices to portray the series of events (the sounding of trumpets, the hurling of David's stone, etc.) as well as the characters' psychological states (e.g. the Israelites' fright before a battle, or Hezekiah's joy darkened by a remembrance of his illness). These devices are not limited to changes of texture or harmony, but also include quotations from Protestant chorales (the Israelites' prayer is based on Luther's Aus tiefer Not schrei ich zu dir) and imitations of operatic arias (Gideon's fear).
The other keyboard works by Kuhnau show a varied approach to form. The two parts of his Clavier-Übung include 7 suites each. The first is only in the major mode, and the second is only in the minor mode. The suites almost always begin with a prelude, and continue through the usual order of dances – allemande, courante, sarabande, gigue – occasionally with a minuet or aria placed between the dances. Kuhnau's preludes are almost always in two sections: a prelude and a fugue (or a fugato section), complete with countersubjects Kuhnau mentions in the preface. Kuhnau's Sonata in B-flat major, appended to the Neuer Clavier-Übung, anderer Theil, was for some time considered to be the earliest known keyboard sonata. Later research has shown that it was rather the first keyboard sonata published in Germany and that Kuhnau simply followed the naming convention established by contemporary foreign composers. The composer himself commented on the issue in the preface:
I have also appended a Sonata in B-flat major, which should also be pleasing to the amateurs. Why shouldn't one provide such pieces for keyboard which are provided for other instruments? Indeed, no instrument has been able to dispute the clavier's reputation for perfection.
The third volume, titled Frische Clavier Früchte, contains six sonatas modelled on Italian chamber sonatas. According to music authors Milton Cross and David Ewen, the work's publication is an "important event in musical history" since it is one of the earliest serious attempts at composing works for keyboard instruments besides the organ. A wide variety of forms and textures is employed: even the opening movements range from toccata-like miniatures to full-fledged chaconnes. Kuhnau's approach to the episodes of the many fugues of this collection has been called "perhaps his primary contribution to the historical development of fugue as an extended form" by one scholar. Frische Clavier Früchte was Kuhnau's most popular work in his lifetime, reprinted five times (including one posthumous publication).
Much of Kuhnau's vocal music is lost, including an opera (Orpheus), a setting of the Passion according to St. Mark (Markus-Passion), a three-choir Te Deum, and at least two settings of the mass. The surviving cantatas are simple harmonically and melodically, yet expressive. Unlike those of his predecessors at the Thomaskirche, Kuhnau's cantatas feature a unified approach to form: most begin with an instrumental section followed by alteration of arias and recitatives. The Christmas cantata Uns ist ein Kind geboren, formerly attributed to Bach as BWV 142, was most likely composed by Kuhnau.
Writings
Of the few surviving books and treatises by Kuhnau, perhaps the most important is Der musicalische Quack-Salber ("The Musical Quack"), a satirical novel published in 1700. It describes the fictional exploits of Caraffa, a German charlatan who strives to make a name for himself as musician by posing as an Italian virtuoso. The novel's literary qualities have been noted, one writer venturing to call it linguistically innovative, and it has also proven to be a singularly valuable source for performance practices of the late 17th century. Two other satirical works by Kuhnau are known: Der Schmid seines eignen Unglückes ("The Maker of His Own Misfortune", 1695) and Des klugen und thörichten Gebrauchs der Fünf Sinnen ("On the Clever and Foolish Use of the Five Senses", 1698). Some of Kuhnau's satirical concepts and story turns are influenced by Christian Weise's novels. Kuhnau knew Weise from his days at Zittau, where Weise worked as Rector of the Gymnasium, and Kuhnau used to provide music (now lost) for Weise's school plays.
Kuhnau's theoretical treatise Fundamenta compositionis survives in a single manuscript which also contains an anonymous treatise on double counterpoint (Kurtze doch deutliche Reguln von den doppelten Contrapuncten) and two texts by Christoph Bernhard; the entire manuscript was at one point attributed to Johann Sebastian Bach. Fundamenta appears to be a bad and partial copy from Kuhnau's original. The last five chapters are a direct copy from another Bernhard treatise on invertible counterpoint, while the discussion of modes is very similar to that in Walther's Praecepta der musicalischen Composition (1708), yet omits several passages included in Walther. The similarity raised an important question about Walther's well-known and highly regarded treatise: how heavily was it based upon Kuhnau's lost original? Or did both Walther and Kuhnau borrow from another writer, currently unknown?
Kuhnau authored at least two more theoretical works, but those are only known by name: Tractatus de tetrachordo seu musica antiqua ac hodierna and De triade harmonica. His views on musical modes, solmization, and other matters are preserved in a letter dated 8 December 1717, published by Mattheson in Critica musica in 1725. In addition, the "Biblical Sonatas" include a large preface in which Kuhnau explores the idea of program music and various related matters.
Family
Kuhnau's nephew Johann Andreas Kuhnau, born in Annaberg on 1 December 1703, was one of the principal copyists for J. S. Bach. He attended the Thomasschule from 1718, and studied at the Leipzig University from 1719. He died after 1745.
List of works
Numerous works by Kuhnau are lost, including stage works, cantatas, numerous pieces of occasional music, and so on. Some cantatas, arias, and odes survive in text-only versions. Lost also were at least two treatises: Tractatus de tetrachordo seu musica antiqua ac hodierna and De triade harmonica. The following list only includes works that are extant in complete form.
Keyboard
Neuer Clavier-Übung, erster Theil, 7 suites (1689)
Neuer Clavier-Übung, anderer Theil, 7 suites and 1 sonata (1692)
Frische Clavier Früchte, 7 sonatas (1696)
Musicalische Vorstellung einiger biblischer Historien, 6 sonatas (1700)
Prelude in G major, organ
Praeludium alla breve, organ
Fugue in G major, organ
Toccata in A major, organ
Sacred vocal
Ach Herr, wie sind meiner Feinde so viel
Bone Jesu, chare Jesu
Christ lag in Todesbanden
Daran erkennen wir, dass wir in ihm verbleiben
Das Alte ist vergangen
Ende gut und alles gut
Erschrick mein Hertz vor dir
Es steh Gott auf (doubtful)
Frohlocket, ihr Völker, und jauchzet, ihr Heiden
Gott der Vater, Jesus Christus, der Heil'ge Geist wohn uns bey
Gott hat uns nicht gesetzt zum Zorn
Gott sei mir gnädig
Ich freue mich im Herrn
Ich habe Lust abzuscheiden
Ich hebe meine Augen auf
Ihr Himmel jubilirt von oben
In te Domine speravi
Laudate pueri
Lobe den Herrn meine Seele (2 versions, for 2 and 5 voices)
Lobet, ihr Himmel, den Herrn
Magnificat
Mein Alter kommt, ich kann nicht sterben
Missa brevis
Muss nicht der Mensch auf dieser Erden
Nicht nur allein am frohen Morgen
O heilige Zeit, wo Himmel, Erd und Luft (2 versions, 1 for 2 voices doubtful, 1 for 4 voices)
Schmücket das Fest mit Meyen
Singet dem Herrn ein neues Lied
Spirate clementes
Tristis est anima mea
Und ob die Feinde Tag und Nacht
Vom Himmel hoch, da komm ich her
Was Gott tut, das ist wohlgetan
Weicht ihr Sorgen aus dem Hertzen
Welt adieu, ich bin dein müde
Wenn ihr fröhlich seid an euren Festen
Wie schön leuchtet der Morgenstern
Secular vocal
Ach Gott, wie lästu mich erstarren, aria for the burial of Rektor Titius, Zittau, 19 May 1681
Writings
Divini numinis assistentia, illustrisque jure consultorum in florentissima academia Lipsiensi (dissertation; Leipzig, 1688)
Der Schmid seines eignen Unglückes (novel; 1695)
Des klugen und thörichten Gebrauchs der Fünf Sinnen (novel; 1698).
Der musicalische Quack-Salber (novel; Dresden, 1700)
Fundamenta compositionis (treatise; 1703)
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 29 | 89.7th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 7 | 80.4th |
| Studio albums | 6 | 86.1th |
| Awards recorded | 0 | 0th |
| Timeline events | 9 | 85.5th |
| Recording span (years) | -273 | 2.1th |
| Genres | 0 | 0th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (7 release groups · 6 studio albums)
Albums · 6
The Biblical Sonatas (Harpsichord, Clavichord & Organ: John Butt)
1995 · studio album
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Tracklist · 35 tracks · 1:12:21
1Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": I. The Boasting of Goliath.1:352Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": II. The Trembling of the Israelites at the Appearance of the Giant, and Their Prayer to God.5:123Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": III. The Courage of David, and His Keen Desire to Repel the Pride of His Terrifying Enemy, With the Confidence That He Puts in the Help of God.1:024Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": IV. The Combat Between the Two and Their Struggle; The Stone Is Thrown From the Slingshot Into the Brow of the Giant; Goliath Falls.1:115Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": V. The Flight of the Philistines, Who Are Pursued and Slain by the Israelites.0:466Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": VI. The Joy of the Israelites Over Their Victory.1:157Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": VII. Musical Concert of the Women in Honor of David.1:228Biblical Sonata No. 1 "The Combat Between David and Goliath (1 Samuel 17-18)": VIII. The General Rejoicing, and the Dances of Joy of the People.2:019Biblical Sonata No. 2 "The Melancholy of Saul Assuaged by Means of Music (1 Samuel 16)": I. The Sadness and the Rage of the King.3:0410Biblical Sonata No. 2 "The Melancholy of Saul Assuaged by Means of Music (1 Samuel 16)": II. [No Title]2:5211Biblical Sonata No. 2 "The Melancholy of Saul Assuaged by Means of Music (1 Samuel 16)": III. The Restorative Song of David's Harp.3:2912Biblical Sonata No. 2 "The Melancholy of Saul Assuaged by Means of Music (1 Samuel 16)": IV. The Calm and Contented Soul of Saul.1:5113Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": I. The Joy of the Family of Laban at the Arrival of Their Kinsman Jacob.3:5214Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": II. The Servitude of Jacob Is Indeed Laborious, but It Is Lightened by His Love for Rachel, With the Diversion of the Lovers Mixed in.3:3215Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": III. The Bridal Song Sung by the Companions of Rachel.1:2316Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": IV. The Rejoicing for the Wedding, and the Congratulations.1:2017Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": V. The Deception of Laban.2:3418Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": VI. [No Title]1:3819Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": VII. The Bridegroom Loving and Content; His Heart Foretells Him Some Ill; He Takes Heart Again; He Becomes Sleepy; He Arises; He Falls Asleep; The Displeasure of Jacob at Being Deceived.2:4120Biblical Sonata No. 3 "The Wedding of Jacob (Genesis 29-31)": VIII. The Rejoicing for the Wedding Is Repeated.1:2621Biblical Sonata No. 4 "Hezekiah Dying and Restored to Health (2 Kings 20)": I. Hezekiah's Lament for the Death Foretold to Him and His Fervent Prayers.3:3522Biblical Sonata No. 4 "Hezekiah Dying and Restored to Health (2 Kings 20)": II. His Confidence in God.1:3423Biblical Sonata No. 4 "Hezekiah Dying and Restored to Health (2 Kings 20)": III. The Joy of the Convalescent King; He Remembers the Ills That Are Past; He Forgets Them.2:1024Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": I. Gideon's Doubt Concerning the Victory Promised Him by God; He Tests It in a Contrary Manner.2:3025Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": II. His Fear, Seeing a Great Army of Enemies Come Upon Him.0:3826Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": III. He Takes Heart Again, Hearing What They Had Dreamed of Him Being Expounded to His Enemies.1:0527Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": IV. Gideon Encourages His Soldiers.1:0528Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": V. The Sound of Trumpets, or Trombones, and the Breaking of the Pitchers, and the Cries of the Fighters.0:5029Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": VI. The Flight of Their Enemies, Pursued by the Israelites.0:2230Biblical Sonata No. 5 "Gideon the Savior of the People of Israel (Judges 6-7)": VII. Their Joy in the Notable Victory.1:2631Biblical Sonata No. 6 "The Tomb of Jacob (Genesis 49-50)": I. The Sorrow of the Sons of Jacob at the Bed of Their Dying Father, Somewhat Sweetened by His Fatherly Benediction.4:1932Biblical Sonata No. 6 "The Tomb of Jacob (Genesis 49-50)": II. They Consider the Consequences of This Death.1:3533Biblical Sonata No. 6 "The Tomb of Jacob (Genesis 49-50)": III. The Journey From Egypt to the Land of Canaan.2:1434Biblical Sonata No. 6 "The Tomb of Jacob (Genesis 49-50)": IV. The Burial of Israel, and the Sorrowful Lament of Those Present.3:0135Biblical Sonata No. 6 "The Tomb of Jacob (Genesis 49-50)": V. The Souls of the Survivors Are Consoled.1:512011 · studio album
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Tracklist · 17 tracks · 1:06:37
1Weicht ihr Sorgen aus dem Herzen: I. Aria „Weicht, ihr Sorgen“3:172Weicht ihr Sorgen aus dem Herzen: II. Recitativo „Ich bleib in Gott gelassner Ruh“1:363Weicht ihr Sorgen aus dem Herzen: III. Aria „Weicht, ihr Sorgen“0:594Weicht ihr Sorgen aus dem Herzen: IV. Recitativo „Was frag ich nach der Welt“1:035Weicht ihr Sorgen aus dem Herzen: V. Aria „Ich habe Gott, was fehlt mir noch?“2:576Weicht ihr Sorgen aus dem Herzen: VI. Recitativo „So kann ich allen Tand der schnöden Welt verachten“1:177Weicht ihr Sorgen aus dem Herzen: VII. Aria „Komm doch, süße Stunde“5:228Ach Gott, wie läßt du mich verstarren7:209Omnia quae fecit Deus8:3310In te Domine speravi8:2211Mihi autem bonum est6:0712Bone Jesu8:2013Und ob die Feinde: I. Aria „Und ob die Feinde“2:5614Und ob die Feinde: II. Recitativo „Gott unsre feste Burg steht noch“1:3715Und ob die Feinde: III. Aria „Wir haben die reinen und seligen Lehren“1:2916Und ob die Feinde: IV. Recitativo „Ein jeder mag nur als ein Christ“2:1617Und ob die Feinde: V. Aria „Nimm mich mir und gib mich dir“3:062015 · studio album
2016 · studio album
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Tracklist · 27 tracks · 1:04:53
1Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Recitativ "Mein Herze schwimmt im Blut"1:522Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Aria und Recitativ "Stumme Seufzer"4:423Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Recitativ "Doch Gott muss mir gnädig sein"0:544Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Aria "Tief gebückt und voller Reue"2:325Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Recitativ "Auf diese Schmerzensreu"0:226Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Choral "Ich, dein betrubtes Kind"1:027Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Recitativ "Ich lege mich in diese Wunden"0:358Mein Herz schwimmt in Blut in C minor, GWV 1152/12b: Aria "Wie freudig ist mein Herz"2:069Weicht ihr Sorgen aus dem Hertzen: Aria "Weicht, ihr Sorgen, aus dem Hertzen"3:2410Weicht ihr Sorgen aus dem Hertzen: Recitativ "Ich bleib in Gott gelassener Ruh"1:5811Weicht ihr Sorgen aus dem Hertzen: Aria "Weicht, ihr Sorgen" da capo1:1112Weicht ihr Sorgen aus dem Hertzen: Recitativ "Was frag ich nach der Welt"1:1213Weicht ihr Sorgen aus dem Hertzen: Aria "Ich habe Gott, was fehlt mir noch"2:4314Weicht ihr Sorgen aus dem Hertzen: Recitativ "So kann ich allen Tand der schnöden Welt verachten"1:3715Weicht ihr Sorgen aus dem Hertzen: Aria "Komm doch, süße Stunde"3:5416Quatrieme livre de 6 quatuors: Quartet no. 5 in G major, TWV 43:G5: Adagio1:4317Quatrieme livre de 6 quatuors: Quartet no. 5 in G major, TWV 43:G5: Allegro2:1818Quatrieme livre de 6 quatuors: Quartet no. 5 in G major, TWV 43:G5: Adagio2:4119Quatrieme livre de 6 quatuors: Quartet no. 5 in G major, TWV 43:G5: Allegro3:0020Mein Herze schwimmt im Blut, BWV 199: Recitativo "Mein Herze schwimmt im Blut"2:0521Mein Herze schwimmt im Blut, BWV 199: Aria und Recitativo "Stumme Seufzer"8:4322Mein Herze schwimmt im Blut, BWV 199: Recitativo "Doch Gott muss mir gnädig sein"1:1523Mein Herze schwimmt im Blut, BWV 199: Aria "Tief gebückt und voller Reue"7:5724Mein Herze schwimmt im Blut, BWV 199: Recitativo "Auf diese Schmerzensreu"0:1725Mein Herze schwimmt im Blut, BWV 199: Corale "Ich, dein betrübtes Kind"1:4126Mein Herze schwimmt im Blut, BWV 199: Recitativo "Ich lege mich in diese Wunden"0:5027Mein Herze schwimmt im Blut, BWV 199: Aria "Wie freudig ist mein Herz"2:192017 · studio album
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Tracklist · 34 tracks · 1:02:42
1Geistliches Konzert "Nun komm der Heiden Heiland"1:562Canon on "Nun komm der Heiden Heiland"2:473Cantata "Aus der Tiefen": Coro2:404Cantata "Aus der Tiefen": Aria [soprano]0:455Cantata "Aus der Tiefen": Aria [alto]0:546Cantata "Aus der Tiefen": Chorus1:127Cantata "Aus der Tiefen": Aria [tenor]0:558Cantata "Aus der Tiefen": Aria [bass]1:039Cantata "Aus der Tiefen": Coro2:4310Suite no. 20 in E minor from "Banchetto musicale": Padouana2:1211Suite no. 20 in E minor from "Banchetto musicale": Gagliarda0:2412Suite no. 20 in E minor from "Banchetto musicale": Courente1:0413Suite no. 20 in E minor from "Banchetto musicale": Allemande1:0614Cantata "Was Gott tut, das ist wohlgetan": Sinfonia2:3815Cantata "Was Gott tut, das ist wohlgetan": Versus 1. Coro1:4716Cantata "Was Gott tut, das ist wohlgetan": Versus 2. Duetto [alto, bass]1:4717Cantata "Was Gott tut, das ist wohlgetan": Versus 3. Aria [tenor]1:2118Cantata "Was Gott tut, das ist wohlgetan": Versus 4. Aria [soprano]1:5619Cantata "Was Gott tut, das ist wohlgetan": Versus 5. Aria [soprano]1:3120Cantata "Was Gott tut, das ist wohlgetan": Versus 6. Coro1:5521Cantata "Die Elenden sollen essen," BWV 75, Part I: Coro4:3322Cantata "Die Elenden sollen essen," BWV 75, Part I: Recitativo accompagnato [bass]0:5623Cantata "Die Elenden sollen essen," BWV 75, Part I: Aria [tenor]4:4424Cantata "Die Elenden sollen essen," BWV 75, Part I: Recitativo [tenor]0:3125Cantata "Die Elenden sollen essen," BWV 75, Part I: Aria [soprano]4:5126Cantata "Die Elenden sollen essen," BWV 75, Part I: Recitativo [soprano]0:3327Cantata "Die Elenden sollen essen," BWV 75, Part I: Chorale1:3728Cantata "Die Elenden sollen essen," BWV 75, Part II: Sinfonia2:3029Cantata "Die Elenden sollen essen," BWV 75, Part II: Recitativo accompagnato [alto]0:3930Cantata "Die Elenden sollen essen," BWV 75, Part II: Aria [alto]2:3631Cantata "Die Elenden sollen essen," BWV 75, Part II: Recitativo [bass]0:2632Cantata "Die Elenden sollen essen," BWV 75, Part II: Aria [bass]3:5133Cantata "Die Elenden sollen essen," BWV 75, Part II: Recitativo [tenor]0:3534Cantata "Die Elenden sollen essen," BWV 75, Part II: Chorale1:442023 · studio album
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Tracklist · 44 tracks · 1:11:19
1Kommt, ihr Musen1:402Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Lacht uns an3:293Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Seht, wa die Liebe tut2:474Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Wenn zwei Herzen sich verbinden5:035Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Armer Jakob2:496Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Ihr Schäferinnen, kommt herein1:057Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Ach Jacob, bleib im Lande0:538Musik aus dem Schauspiel »Von Jacobs doppelter Heyrath«: Singet nun auf beiden Chören2:359Spirate clementes: Spirate clementes3:5110Spirate clementes: Vos fluctus amari1:5511Spirate clementes: Sed quales effundo lacrymas1:3512Spirate clementes: Desine coelestis amor0:4813Spirate clementes: Pia maria aurae carae2:2414Musik aus dem Schauspiel »In einer Parodie eines neuen Peter Sequenzens von lautern Absurdis Comicis«1:2115Ach Herr, wie sind meiner Feinde so viel: Sonata1:1116Ach Herr, wie sind meiner Feinde so viel: Ach Herr, wie sind meiner Feinde so viel1:1317Ach Herr, wie sind meiner Feinde so viel: Also muss der Fromme wanken0:5718Ach Herr, wie sind meiner Feinde so viel: Aber du, Herr, bist der Schild für mich0:4319Ach Herr, wie sind meiner Feinde so viel: Gottes Kinder müssen leiden1:0620Ach Herr, wie sind meiner Feinde so viel: Ich rufe an mit meiner Stimme den Herren1:0421Ach Herr, wie sind meiner Feinde so viel: Lasst uns nur mit Andache hören1:4722Ach Herr, wie sind meiner Feinde so viel: Ich liege und schlafe1:1523Ach Herr, wie sind meiner Feinde so viel: Ich fürchte mich nicht1:0924Ach Herr, wie sind meiner Feinde so viel: Auf, Herr, und hilf mir, mein Gott1:1825Ach Herr, wie sind meiner Feinde so viel: Bei dem Herren findet man Hülfe0:3826Ach Herr, wie sind meiner Feinde so viel: Freude, Jesus triumphieret2:1127Ende gut und alles gut: Ende gut und alles gut2:4128Ende gut und alles gut: Was in der Zeit den Anfang hat genommen0:1929Ende gut und alles gut: Nichts weiß von keiner Ewigkeit1:4830Ende gut und alles gut: Was bildet man sich ein0:3031Ende gut und alles gut: Ehr und Würde1:0532Ende gut und alles gut: Und was ist doch die ganze Lebenszeit0:1433Ende gut und alles gut: Geht die Jugend lieblich auf1:5334Ende gut und alles gut: Die ganze Welt, wie herrlich sie0:2135Ende gut und alles gut: Welt und alles geht zu Grunde0:3636Ende gut und alles gut: Ach, mit dem Ende dieser Zeit0:3037Ende gut und alles gut: Ewig, ewig1:3638Ende gut und alles gut: Mensch, willt du nun das Ende stets bedenken0:2439Ende gut und alles gut: Gott gebe nur ein welig Ende2:0240Ende gut und alles gut: Wiewohl ich zweifle gar nicht dran0:3841Ende gut und alles gut: Mein Jesus, mein Alles im Leben und Sterben1:1642Was der Himmel selbsten liebt2:2243Entferne sich, was Unruh macht3:0544Sacra pellat taeda bella3:12
Other · 1
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1998 | Uns Ist Ein Kind Geboren - Cantaten / CantatasSearch SpotifySearch YouTube MusicTracklist · 23 tracks · 50:061Nr. 1 Concerto - Nr. 2 Koor: 'Uns Ist Ein Kind Geboren'3:14 2Nr. 3 Aria: 'Dein Geburtstag Ist Erschienen'2:33 3Nr. 4 Koor: 'Ich Will Den Namen Gottes Loben Mit Einem Liede'1:28 4Nr. 5 Aria: 'Jesu, Dir Sei Dank Gesungen'2:29 5Nr. 6 Recitatief: 'Immanuel! Du Wollest Dir Gefallen Lassen'0:39 6Nr. 7 Aria: 'Jesu, Dir Sei Preis Gesungen'2:47 7Nr. 8 Koraal: 'Alleluja, Gelobet Sei Gott'1:12 8Nr. 1 Koor: 'Uns Ist Ein Kind Geboren'3:30 9Nr. 2 Recitatief: 'Nun Ist Die Zeit Erfüllt'1:34 10Nr. 3 Aria: 'Wie Herrlich Lenkt, O Herr Der Zeiten'5:33 11Nr. 4 Recitatief: 'Ja, Selbst Die Ewigen Gesetze Der Natur'1:10 12Nr. 5 Koor: 'Kündlich Groß Ist Das Gottselige Geheimnis'1:49 13Nr. 1 Koor: 'Kündlich Groß Ist Das Gottselige Geheimnis'1:39 14Nr. 2 Aria: 'Geheimnisvolle Worte, Ihr Habt Eine Große Kraft'1:53 15Nr. 3 Koraal: 'Der Sohn Des Vaters, Gott Von Art'0:50 16Nr. 4 Aria: 'Dies Geheimnis Führt Und Treibt Uns'1:12 17Nr. 5 Koraal: 'Gib Mir, O Jesu, Nur Heilige Gute Gedanken'0:53 18Nr. 1 Koor: 'Gott Steigt Herab, Der Seraph Nach'1:44 19Nr. 2 Aria: 'Da Ist Mein Gott!'5:34 20Nr. 3 Recitatief: 'Herr! Ich Bin Erde'1:05 21Nr. 4 Tutti: 'Ach, Daß Wir Viel Zu Arm Für Deine Liebe Sind!'2:55 22Nr. 5 Tempo Comodo: 'Seid, Christen, Ganz Gefühl'1:20 23Nr. 6 Tutti: 'Ach, Daß Wir Viel Zu Arm Für Deine Liebe Sind!'3:03 | 1998 |
Stats & PK
Percentile within all 23,672 published artists.Put Johann Kuhnau head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 29 | 89.7th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 7 | 80.4th |
| Studio albums | 6 | 86.1th |
| Awards recorded | 0 | 0th |
| Timeline events | 9 | 85.5th |
| Recording span (years) | -273 | 2.1th |
| Genres | 0 | 0th |
Awards & honours
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Johann_Kuhnau.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/b507edc9-f871-4711-8cfb-07e4159b8340discography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/b507edc9-f871-4711-8cfb-07e4159b8340core—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q157359seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Johann_Kuhnaubiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Johann_Kuhnau
Why this artist is in the database
- List of composers by name
Tier rule: notable long tail (listeners 0, 29 language versions)
Image: Unknown author Unknown author · Public domain · Wikimedia Commons
Wikidata: Q157359 · MusicBrainz: b507edc9-f871-4711-8cfb-07e4159b8340