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Prince Johann Ernst of Saxe-Weimar (1696-1715), sometimes referred to as Johann Ernst IV of Saxe-Weimar; composer and younger son of Johann Ernst III Topics referred to by the same term This disambiguation page lists articles about people with the same name.
Biography. He was the second but eldest surviving son of Johann Ernst III, Duke of Saxe-Weimar and his first wife, Princess Sophie Auguste of Anhalt-Zerbst . When his father died in 1707, Ernst August became co-ruler ( Mitherr) of Saxe-Weimar, along with his uncle Wilhelm Ernst, but his title was only nominal, since Wilhelm Ernst was the actual ...
John's son Duke Johann Ernst I of Saxe-Weimar on occasion of the burial of his mother Dorothea Maria of Anhalt in 1617 established the literary Fruitbearing Society. Thirty Years' War [ edit ] At the outbreak of the Thirty Years' War , Duke Johann Ernst I supported the Protestant Bohemian estates under the "Winter King" Frederick V of the Palatinate , who were defeated at the 1620 Battle of ...
Johann Sebastian Bach, Joan Lippincott · Song · 2010 Johann Sebastian Bach, Joan Lippincott Listen to Organ Concerto No. 4 in C Major, BWV 595 (arr. of Concerto by Prince Johann Ernst of Saxe-Weimar) on Spotify.
When his father died in 1683, he succeeded him as duke; however, he was compelled to rule jointly with his younger brother Johann Ernst III. Because John Ernest III was alcoholic , William Ernest took full control of the government of the duchy and permitted John Ernest the nominal title of co-duke ( Mitherr ) until his death in 1707.
A second album (works by Johann Bernhard Bach) will be released in autumn 2019 and further projects are being planned. Prince Johann Ernst IV of Sachsen-Weimar (1696-1715) was taught by Johann Gottfried Walther; Johann Sebastian Bach also perused the young prince’s compositions and arranged some of Johann Ernst’s concertos for keyboard instruments for his own use.
31 de ago. de 2022 · Download Citation | The Testament of Prince Johann Ernst of Saxe-Weimar | Even as Georg Philipp Telemann's significance within eighteenth-century musical culture has become more widely appreciated ...
