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	Christian Friderich Henrici (Picander) (Librettist) - Short Biography
		Picander also wrote the texts for Bach's ‘Der Streit zwischen Phoebus und Pan’ BWV 201 and ‘Laßt uns sorgen’ BWV 213; his Coffee Cantata BWV 211 was perhaps not written expressly for Bach.
		The last text of a Bach cantata published by Picander is that of the Peasant Cantata BWV 212 (1742), printed in 1751.
		Picander was then serving as Assessment and Liquor Tax Collector, Wine Inspector and Vizier, a post he held from 1740 until his death.
	www.bach-cantatas.com /Lib/Picander.htm (328 words)

	A Homoerotic Love Air in the Cantata ‘‘The Quarrel Between Phoebus and Pan’’ by Johann Sebastian Bach
		Klaus Häfner assumes that BWV 201 together with two other cantatas of the same length, of which only the texts by Picander have survived, formed a kind of trilogy produced by Bach when he had assumed his duties as director of the ''Collegium Musicum'' in the spring of 1729.
		Picander had a partiality for provokingly lascivious wording and had ''the most offensive and nasty things printed''.
		From such opinions on his poetry, it does not appear very surprising that Picander should have chosen the sexual relationship between two males as subject of an aria, though he also could have let Apollo sing of one of his 42 female ''courtesans'' that are listed in Hederich's mythological encyclopedia.
	www.androphile.org /preview/Library/History/jsbach/bach.htm (2146 words)

	Pietisten: J.S. Bach’s St Matthew Passion as a Lenten Meditation
		Bach engaged Picander to write simple, yet expressive, verses, usually no more than eight lines, to be inserted at appropriate points in the passion narrative.
		Picander based his text on a series of eight passion sermons by Heinrich Müller, a late 17th-century German pastor and theologian, whose writings occupied an important place in Bach’s personal library.
		Picander’s verses, drawing on Müller’s themes and language, were printed in a booklet as a devotional guide for each member of the congregation.
	www.pietisten.org /winter0405/bach.html (1643 words)

	Bach Choir of Bethlehem
		Cantata 156 was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year.
		Of the four cantatas written by Bach for this feast (72, 73, 111, and 156), it was the last, and the only one scored for solo voice.
		Picander’s text becomes a prayer to God, that God’s will be done to help the singer to his end.
	www.bach.org /bach101/cantatas/cantata156.html (731 words)

	MUSIC REVIEW; Part Bach, Part Pastiche, Part Sherlock Holmes - New York Times
		Picander was librettist for the ''St. Matthew Passion'' (which survives gloriously intact); Bach was responsible for the city's Passion music.
		Embellishing the story is poetic commentary (choruses, vocal solos and ensembles) and the four-part chorales, hymnlike pauses for contemplation by both performers and congregation.
		From Picander we infer that the St. Mark was lighter on the poetry than either the St. Matthew or the St. John but heavier on chorales.
	query.nytimes.com /gst/fullpage.html?res=9B00E6D7173EF932A25757C0A9669C8B63 (694 words)

	Classical Net - J.S. Bach - Cantata Listener's Guide - BWV 212
		The libretto of the Peasant Cantata BWV 212 was written by Picander (he of the the St. Matthew Passion) on the occasion of the new chamberlain Carl Heinrich von Diskau receiving allegiance as Lord of the Manor of Kleinzchocher (near Leipzig).
		As Picander was a government official responsible for collecting liquor taxes in the region and therefore answerable to the new Lord, it's a fair bet that this work was intended to ingratiate himself with the new boss!
		The Peasant Cantata is described as a cantata en burlesque on Picander's printed libretto and Bach's score fully complements the intentions of the libretto: A courting couple, he wanting a quick roll in the hay, she disliking such vulgarity, all to the background of praise for the new squire.
	www.classical.net /music/comp.lst/works/bachjs/cantatas/212.html (486 words)

	[No title] (Site not responding. Last check: 2007-11-07)
		The action, presented using scripture, takes place in the recitatives and is sung by characters such as the Evangelist (Matthew), Jesus, Judas, Pilate, etc. (These characters are all sung as solo).
		The soloists comment on the action in the arias and some of the recitatives preceding arias, using poetic texts written by Picander.
		Jesus's voice is surrounded by a "halo" of string instruments, whenever he speaks (i.e., his words are always found in accompanied recitatives).
	www.math.ucla.edu /~tao/java/temp (549 words)

	NPR's SymphonyCast (Site not responding. Last check: 2007-11-07)
		Non-Biblical portions of the text are by Bach's frequent collaborator, Christian Henrici, whose pen-name was Picander.
		Most experts think Bach himself chose the chorales and their placement within the work, and he probably was influential in shaping Picander's contribution as well.
		Following the medieval tradition, Bach gives the narration of the story to a tenor called the Evangelist, while Christ's words are performed by a bass.
	www.npr.org /programs/symphonycast/archives/020331.notes.html (1012 words)

	General Introduction Cantatas
		Bach wrote quite a few secular cantatas, but most of his cantatas were written for the Lutheran church service and, naturally, involve a lot of texts related to that service.
		From around 1727, Picander (pseudonym of Christian Friedrich Henrici) became Bach's most important text poet.
		Picander was postmaster of Leipzig, and later also wine inspector (not the first friend of Bach's who had something to do with wine or beer).
	odur.let.rug.nl /Linguistics/diversen/bach/cantatas/introduction.html (2724 words)

	CHORAL MUSIC: A Passionate Passion By Anna Carol Dudley (American Bach Soloists Pacific Boychoir, May 13, 2006)
		The non-Biblical part of the text is by the poet Picander, expressing individual and collective responses to the betrayal and death of Jesus.
		Bach, steeped in the rhetoric of the Lutheran sermon, used Picander's text to create dialogue between the choruses or between a soloist and a chorus, to speak for the congregation in various settings of chorales (familiar then to all, and still today to some), and to express private and communal outpourings of emotion.
		Saturday's concert was propelled by the riveting performance of tenor Wesley Rogers as the Evangelist, the one soloist who sang the story entirely in recitative rather than in song.
	www.sfcv.org /arts_revs/abs_5_16_06.php (951 words)

	Es erhub sich ein Streit
		Poet unknown, a revision of verses 1, 3, 6, and 7 of a Michaelmas poem in Picander's Sammlung Erbaulicher Gedancken (Leipzig, 1724/25); Facs: Neumann T, p.
		verse 3 of Picander with the chorale melody "Herzlich lieb hab ich dich, o Herr, (cf.
		based on the end of verse 6 of Picander and on Ps.
	www.uvm.edu /~classics/faculty/bach/BWV19.html (131 words)

	The St. Matthew Passion - The Jewel of the Genre
		Bach thus began to look for a different kind of text and eventually came into contact with Picander (Christian Friedrich Henrici), a poet responsible for a large number of occasional sacred texts, many of which Bach used in his cantatas.
		It is clear that Bach considered this score as his most significant work up to that point.
		Based on a reprint of the text in volume ii of Picander's collected works published in 1729, the biblical Passion narrative may be divided into fifteen scenes and two introductions, to which both the lyrical meditations and the interspersing of hymn stanzas relate.
	www.scena.org /lsm/sm7-7/passion-en.html (1291 words)

	COMPACT DISC I (Site not responding. Last check: 2007-11-07)
		The cantatas of the period 1726-1731 and of the Picander cycle (1728-29)
		It was during the period of his Picander cycle that Bach took charge of the Collegium musicum, an
		Picander's text, from his collection of 1728, refers closely to the Gospel of the
	ich-liebe-dich.ichaimut.info /compact-disc-i-447196 (9173 words)

	BachSociety.com
		I undertook the design more readily, because I flatter myself that the lack of poetic charm may be compensated for by the loveliness of the music of our incomparable Capellmeister Bach, and that these songs may be sung in the main churches of our pious Leipzig." --Picander
		Picander was the penname of a local poet, Christian Friedrich Henrici, with whom Bach collaborated on a number of sacred and secular cantatas, as well as a handful of other projects, most notably the St.
		Composed in Leipzig for New Year's Day of 1729, Cantata 171 sets one of Picander's texts and forms part of Bach's fourth annual cycle of cantatas, a cycle often referred to as the Picander Jahrgang.
	www.columbia.edu /cu/bachsoc/notes.html (3274 words)

	St. Matthew Passion, BWV 244
		Matthew Passion was Bach's friend Christian Friedrich Henrici (1700-1764), who used the pseudonym "Picander" for the numerous poems and texts for cantatas and oratorios he wrote.
		This remarkable work, in fact, has earned much of its unique status through its perceived universality and inclusiveness, the power of Bach's illumination of the text enabling it to cross sectarian borders as well as those of time and place.
		In addition to that, there is a second layer of text: these are contemplative passages from the pen of Picander, commenting on the story as it unfolds.
	www.kennedy-center.org /calendar/index.cfm?fuseaction=composition&composition_id=3174 (2244 words)

	Musiche della Reggia di Venaria Reale
		Insomma un modo intelligente e creativo per "contaminare" con lepida arguzia materiali dissimili, armonizzandoli in un linguaggio colto, eppure fruibile con gusto sin dal primo ascolto, lontano da sterili sperimentalismi, eppure scevro altresì di corriva banalità.
		The real pièce de résistance of the CD, however, is Picander 2004 by Piacentini, a complex composition — or «tragicomic action» as the subtitle says — for soprano, bass-baryton, flute, strings, harpsichord and "foto-suoni", a work which Piacentini himself defines as «a whimsical parody on the new patrons of culture and today’s lack of commissions».
		All in all an intelligent, creative and delightfully witty way to "contaminate" dissimilar materials, harmonising them in an idiom which is cultured but can still be enjoyed even at a first listening, standing well apart from sterile experimentalism yet no less free from any smug banality.
	www.arpnet.it /rgauche/SITORIVE_MUSICHEDELLAREGGIA.HTML (3584 words)

	Passions
		For the St. Matthew Passion, the date of first performance is traditionally given as Good Friday, 1729 (but is possibly Good Friday, 1727); Bach presented at least two later performances, with revisions.
		The libretto is based on St. Matthew, chapters twenty-six and twenty-seven; contemporary poetry by C.F. Henrici (Picander) and thirteen chorales.
		The setting is for double chorus (each four-part, with an additional soprano line for the opening number), two sets of four soloists, and a double orchestra.
	www.bachcentral.com /passion.html (240 words)

	[No title]
		Whether Picander and Bach were aware that in historical fact there was in antiquity no exclusive association of the lyre with Apollo or the aulos with Dionysus, we cannot say, but Ovid does make clear that Orpheus the lyre-player was associated with both Apollo and Dionysus.
		It may be of interest that Picander quotes from this same Epistle in the PT to BWV 193a.
		In the second variant in the OP "Birolius" appears to be a clever anagram for "Orbilius." The names Hortensius and Orbilius are associated with the kind of stylistic controversy which must lie behind the Picander-Bach satire.
	www.uvm.edu /~classics/faculty/bach/BWV201.html (669 words)

	UI Symphony & Choruses present J.S. Bach's 'St. Matthew Passion' March 10 - University News Service - The ...
		It fit into a Lutheran tradition of dramatic musical works celebrating the major events in the church calendar, although Bach's Passion was on a larger scale than many such works.
		To these, Bach added a number of Lutheran chorales in relatively simple four-part settings, such as might be sung by the congregation in any Lutheran service.
		The third level of the structure consists of the poetry by Picander, including recitatives, arias, duets, and sections combining soloists with chorus.
	itsnt166.iowa.uiowa.edu /uns-archives/2002/march/0301st-matthew.html (1386 words)

	Cantata BWV 108 - Commentary
		When Spitta (1873 ff) wrote his comprehensive two-volume work on the life and compositions of J.S.Bach, he still had no idea (nor did anyone else) who the poet was, but he sensed that here was a poet of a different, higher caliber than Picander, whose texts Bach was to use later for numerous cantatas.
		It struck Spitta, that the manner in which the texts are written is quite noteworthy: the Bible quotations are more frequent, the poet returns again and again to unusual, graceful forms of poetry, the depth of feeling is greater and purer, and the thoughts expressed are more uplifting.
		Modern scholarship attempts to reverse this harsh criticism of Picander (Christian Friedrich Henrici) who supplied texts for a later sacred cantata cycle than the one for BWV 108.
	www.bach-cantatas.com /Guide/BWV108-Guide.htm (1557 words)

	Bach's Passion - A novel on the life of J. S. Bach" (Site not responding. Last check: 2007-11-07)
		His employer Duke Wilhelm considers him a troublemaker who must be brought to heel.
		His friends Prince Leopold and Picander challenge him to broaden his mind with Enlightenment thinking and seize a better destiny.
		And to make things worse, his penchant for a fight is always erupting at the wrong time.
	bachspassion.com /overview.htm (270 words)

	La Passion selon saint Mathieu - Un joyau de genre
		Bach rencontra ultérieurement Picander (Christian Friedrich Henrici), un poète auteur d'un grand nombre de textes sacrés, dont plusieurs furent utilisés par Bach dans ses cantates.
		Avec son mélange de textes évangéliques et de madrigaux poétiques complexes, le livret de la Passion selon saint Mathieu de Picander constitue, du point de vue littéraire, un oratorio de la Passion, sur lequel Bach a pu composer d'un seul jet une oeuvre tout à fait originale.
		D'après une réimpression du deuxième volume des oeuvres complètes de Picander publié en 1729, le narratif biblique de la Passion peut être divisé en 15 scènes et 2 introductions, auxquelles on peut relier les méditations lyriques et les paragraphes d'hymne répartis ici et là.
	www.scena.org /lsm/sm7-7/passion-fr.html (1439 words)

	Works titles list for Secular Cantatas
		Written 1726 for birthday of wife of Prince Leopold of Anhalt-Cothen, text by Picander.
		for Glückwunschkantate für ein Mitglied der Leipziger Gelehrtenfamilie Rivinus (Johann Florens Rivinus?), text by ?Picander.
		Written 1736 for birthday of Elector Friedrich Augist II, text by ?Picander.
	alan.melvin.com /t201.htm (782 words)

	ProgLibSMP1
		This was Bach’s heritage that he endowed with his own unique gifts to give us ultimately the greatest Passion ever created.
		Bach had written the St. John Passion in 1723 and for this he had compiled the texts by himself, but when he began the composition of the St. Matthew Passion he called upon the services of his literary friend, C. Henrici, who wrote under the name Picander, to supply and organize the text.
		The choice of these fell to Bach, since no poet of that epoch (Picander included) who had any respect for himself would be troubled with a secondary task of that kind.
	www.geocities.com /martlet_choral_links/ProgLibSMP1.html (876 words)

	CHRISTOPH PREGARDIEN Bach Passion St Marc
		It often happened (see his Christmas Oratorio) that chorals, duets and aria's from secular cantatas were incorporated in church cantatas and oratorios after which they were provided with spiritual text.
		Trying this out on the St.Mark Passion, it appears that we find many possibilities to retrace chorals and aria's in several works, on which Picander's text fits extremely well as regards meaning and metrical foots.
		Without ever knowing for certain, it may even be possible that we retrace in this way part of the real St.Mark Passion by Bach.
	www.pregardien.com /francais/cd_f/markuspassion_f.htm (361 words)

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