nc33/multispan_quoref huggingface dataset:
In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie.

Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.

Question: What is the first name of the person Josette tries to get close to in order to assuage?
Answer: Howard
In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie.

Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.

Question: What is it that alerts the American armaments engineer to the fact that there is a new passenger?
Answer: the annoying clamor of a gramophone
In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie.

Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.

Question: What is the first name of the person that tries to get put ashore?
Answer: Howard
In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie.

Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.

Question: Who believes that Howard Graham is crazy?
Answer: the ship's captain, purser
In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie.

Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.

Question: Where does the American armaments engineer look for the killer's gun?
Answer: Banat's cabin
In an opening scene before the credits, an assassin, Banat, is seen preparing a gun while a gramophone skips as it plays. The story that follows is the narrative of a letter from Howard Graham, an American armaments engineer, to his wife Stephanie. While journeying to the Soviet port of Batumi to return to the United States to complete his business with the Turkish Navy, Graham and his wife stop in Istanbul and are met by Kopeikin, a Turkish employee of Graham's company, who under the pretense of discussing business, takes Graham to a nightclub to introduce him to dancer Josette Maretl and her partner Gogo. Banat tries unsuccessfully to kill Graham during a magic act, shooting the magician instead. Graham is brought to the headquarters of the Turkish secret police for questioning, where Colonel Haki blames the assassination attempt on German agents seeking to delay the re-arming of Turkish ships. The colonel shows Graham a photograph of Banat, who he says was hired by a Nazi agent named Muller. Haki then orders Graham to travel secretly to Batumi aboard a tramp steamer, while Haki personally oversees the safe overland transit of Stephanie.

Graham's fellow passengers include Josette and Gogo; Kuvetli, an ingratiating Turkish tobacco salesman; Professor Haller, an apolitical German archeologist; and the henpecked Matthews and his French wife. Josette sees that Graham is frightened, and not knowing that he is married, tries to become close to him. At an interim port call, Graham is made aware of the arrival of a new passenger by the annoying clamor of a gramophone, while Haller warns him that Kuvetli is not who he claims to be. At dinner Graham recognizes Banat and tries to persuade the ship's captain and purser to put him ashore, but they believe that he is crazy. Graham turns to Josette for help and she has Gogo engage Banat in a poker game while Graham unsuccessfully searches Banat's cabin for the assassin's gun.

Question: What is the first name of the person that the German archeologist warns?
Answer: Howard
Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.

Question: What was the name of the Bach Church when Bach was the organist?
Answer: New Church
Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.

Question: What was the name of the church Johann Friedrich Wender built an organ?
Answer: New Church
Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.

Question: What was the name of the person whose cantatas are restricted to special occasions such as weddings and funerals?
Answer: Bach
Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.

Question: In what city was the church Christ lag in Todes Banden whose most likely wrote for?
Answer: Mühlhausen
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Question: What is the full name of the person who used instruments of the continuo group as independent parts?
Answer: Johann Sebastian Bach
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Question: What often begin with an instrumental sinfonia or sonata?
Answer: cantatas
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Question: What is the full name of the person who devoted considerable time and effort to vocal composition?
Answer: Johann Sebastian Bach
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Question: What is the full name of the scholar that noted that the man who's early cantats are Choralkonzerte "...remarkable flair for text illustration is evident even in the early cantatas"?
Answer: Richard D. P. Jones
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Question: Where did composer that studied with Johann Pachelbel visit that resulted in him spending time on vocal composition?
Answer: Buxtehude
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Question: What is the alternate name for the funeral cantata that used limited instruments by the composer that created the cantata Nach dir, Herr, verlanget mich, BWV 150?
Answer: Actus Tragicus
Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.

Question: What had almost entirely disappeared from Bach's compositions?
Answer: The cornett
Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.

Question: The brass instruments were only used for the 1 April 1725 version of what?
Answer: Christ lag in Todes Banden
Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.

Question: Who wrote the scoring of the cantata Christ lag in Todes Banden?
Answer: Bach
Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.

Question: What had almost entirely disappeared from Bach's compositions by the second quarter of the 18th century?
Answer: cornett