One of the greatest disasters in Japanese history began in the Japanese capital city of Edo (original name of Tokyo) on March 2, 1657, 365 years ago, today. Legend has it that the fire was accidentally started by a priest who was supposedly trying to cremate a cursed kimono. The kimono had been owned in succession by three teenage girls who all died before ever being able to wear it. When the garment was being burned, a large gust of wind fanned the flames causing the wooden temple to ignite.
The fire spread quickly through the city, due to hurricane force winds, which were blowing from the northwest. Edo, like most Japanese cities, […] the buildings were especially dry due to a drought the previous year. [The] roads and other open spaces between buildings were small and narrow, allowing the fire to spread and grow particularly quickly.
The Great Fire of Meireki
February 21, 2016
[The] city of Tokyo, Japan, then known as Edo, suffered a catastrophic fire that lasted three days, and killed 100,000 Japanese people, a death toll greater than either of the atomic bomb attacks on Hiroshima and Nagasaki in 1945.
The carnage caused by the Great Fire of Meireki (or sometimes known as the Furisode Fire) combined to destroy about 60% to 70% of the buildings in Edo.
[The] wind spread the flames across a city that was built almost entirely of wood and paper buildings [and], firefighters [were] unable to keep up with the rapid spread of flames caused by the wind. The fire brigade established in Edo was a novel idea but, the force was nowhere near large enough to deal with a conflagration of this magnitude.
Reconstruction of the city lasted the next 2 years.
Great Fire Kills More Japanese Than Atom Bomb
History & Headlines
March 2, 2017
Japanese Tales: The Fire of the Furisode (Elle Of A Kind Blog/01-07-2022)
The Great Fire Of Meireki/Destruction of Tokyo
Johann Sebastian Bach was a German composer and organist. The most important member of the Bach family, his genius combined outstanding performing musicianship with supreme creative powers in which forceful and original inventiveness, technical mastery and intellectual control, are perfectly balanced. While it was in the former capacity, as a keyboard virtuoso, that in his lifetime he acquired an almost legendary fame, it is the latter virtues and accomplishments, as a composer, that, by the end of the 18th century, earned him a unique historical position. His musical language was distinctive and extraordinarily varied, drawing together and surmounting the techniques, the styles and the general achievements, of his own and earlier generations, and leading on to new perspectives, which later ages have received, and understood, in a great variety of ways.
Wachet! Betet! Betet! Wachet! (Watch! Pray! Pray! Watch!) is the title of two church cantatas by Johann Sebastian Bach. He composed a first version, BWV 70a, in Weimar for the second Sunday in Advent of 1716 and expanded it in 1723 in Leipzig to BWV 70, a cantata in two parts for the 26th Sunday after Trinity.
On [March] 2, 1714, Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the Schlosskirche (palace church), on a monthly schedule. Bach originally wrote this cantata in his last year there […].
The instrumentation of the Weimar cantata is lost.
Bach first performed the cantata on [December] 6, 1716.
Gächinger Kantorei Choir
Dvořák Hall Prague
John Eliot Gardiner