Traduzione e analisi delle parole da parte dell'intelligenza artificiale
In questa pagina puoi ottenere un'analisi dettagliata di una parola o frase, prodotta utilizzando la migliore tecnologia di intelligenza artificiale fino ad oggi:
- come viene usata la parola
- frequenza di utilizzo
- è usato più spesso nel discorso orale o scritto
- opzioni di traduzione delle parole
- esempi di utilizzo (varie frasi con traduzione)
- etimologia
Cosa (chi) è für nichts und wieder nichts - definizione
![Duke Wilhelm Ernst of Saxe-Weimar]], dedicatee of "Alles mit Gott und nichts ohn' ihn", BWV 1127](https://commons.wikimedia.org/wiki/Special:FilePath/1662 Wilhelm Ernst.jpg?width=200 "Duke Wilhelm Ernst of Saxe-Weimar]], dedicatee of \"Alles mit Gott und nichts ohn' ihn\", BWV 1127")
![Grünes Schloss ([[Duchess Anna Amalia Library]]) in Weimar. Tower of the nearby Schloss Weimar on the left.](https://commons.wikimedia.org/wiki/Special:FilePath/Weimar, die Herzogin-Anna-Amalia-Bibliothek.jpg?width=200 "Grünes Schloss ([[Duchess Anna Amalia Library]]) in Weimar. Tower of the nearby Schloss Weimar on the left.")
![[[Schloss Weimar]] around 1730.](https://commons.wikimedia.org/wiki/Special:FilePath/Weimar Wilhelmsburg 1730.jpg?width=200 "[[Schloss Weimar]] around 1730.")
Wikipedia
"Alles mit Gott und nichts ohn' ihn" (Everything with God and nothing without him), BWV 1127, is Johann Sebastian Bach's October 1713 setting of a poem in 12 stanzas by Johann Anton Mylius, Superintendent of Buttstädt, a town in the Duchy of Saxe-Weimar. The poem is an acrostic dedicated to Duke Wilhelm Ernst of Saxe-Weimar, on his birthday (30 October). Bach, at the time employed as court organist by the Duke, set Mylius's ode as an aria in strophic form, that is a melody for soprano accompanied by continuo for the stanzas, alternated with a ritornello for strings and continuo. When all stanzas are sung, a performance of the work takes around 45 to 50 minutes.
The work was likely first performed on the Duke's birthday. The original print of Mylius's poem, with Bach's composition written on two pages at the end, was archived in Weimar, where it remained unnoticed for nearly three centuries, accidentally twice escaping a devastating fire, in 1774 and in 2004, until it was rediscovered in May 2005. After the discovery (in 1924) and publication (in 1935) of Bekennen will ich seinen Namen, BWV 200, this was the first time an autograph of a previously unknown vocal work by Bach had come to light.
