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Mein Gott!

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The following alto and tenor aria is based on one of the most dramatically conflicting text passages that Bach ever set: “I’ll walk, then, with emboldened paces, E’en when me God to grave shall lead”. Here, the determined and almost dance-like ascending string passages are countered by weighty pedal points and descending continuo passages which represent the grave and eternal sleep: without accepting the inevitability of death, heaven and eternity remain beyond reach. The fact that the alto and tenor voices are literally trapped between the trusting strides of the strings and the deathly pull of the continuo renders these dual extremes of human existence palpably audible. The virtuoso coloraturas of the first violin, too, seem to hover around a single note – the tension between stillness and movement, a yearning for death and worldly activity seem to permeate every nuance of the movement. While the fugue-like imitation in the middle section accentuates the aspect of time and its measured course (“As God my days has set in writing”), a sense of loving trust retains the upper hand with the recapitulation of the A section. Formally, the aria’s setting as an intense duet is symbolic of the companionship necessary to find the comfort and courage to take the final steps in life. Bach, who was sorely tested as both orphan and widower, has realised here a strong image of the kind-hearted guide, whose gentle power of persuasion cannot be resisted. SWV 400 — Wo der Herr nicht das Haus bauet, 2 S, B, vn, cornettino/vn, compl. 4vv and insts ad lib, bc This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( April 2017) ( Learn how and when to remove this template message) Little is known with certainty about the creation process of the St Matthew Passion. The available information derives from extant early manuscripts, contemporary publications of the libretto, and circumstantial data, for instance in documents archived by the Town Council of Leipzig. SWV 403 — Siehe, es erschien der Engel des Herren, S, 2 T, B, 2 vn, compl. 4vv and insts ad lib, bc

In the 1727/1729 version, this part is concluded by a four-part setting of verse 6 of the Chorale " Meinen Jesum laß ich nicht (Jesum laß ich nicht von mir)".The narration follows Jesus' instructions for securing the upper room for Passover, and the beginning of the Last Supper. Upon Jesus' declaration that one of the twelve will betray him in 9d, they ask him "Lord, is it I?" The word Herr appears 11 times, once for each disciple except Judas Iscariot. [20] 10. Ich bin's, ich sollte büßen [ edit ] Mt 26:36–38 [ edit ] 18. Evangelist, Jesus: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane 19–20. O Schmerz! Hier zittert das gequälte Herz – So schlafen unsre Sünden ein [ edit ]

Part One is opened by the chorus " Kommt, ihr Töchter, helft mir klagen" (Come ye daughters, join my lament), on a text by Picander. After 16 measures of instrumental introduction in 12Chorale: first stanza of Johann Heermann's " Herzliebster Jesu". The first two lines of the hymn are a rhetorical question: "My dearest Jesus, which crimes have you committed, that such dire judgement has been passed?" The St Matthew Passion is the second of two Passion settings by Bach that have survived in their entirety, the first being the St John Passion, first performed in 1724. Choral movements come in two additional formats (apart from the turba and dialogue with soloist roles already mentioned above): Sterndale Bennett 1845 edition of the Passion was to be the first of many (as Adolph Bernhard Marx and Adolf Martin Schlesinger's one in 1830), the latest being by Neil Jenkins (1997) and Nicholas Fisher and John Russell (2008). Appreciation, performance and study of Bach's composition have persisted into the present era.

The Hamburg Ballet presented a Saint Matthew Passion, created and choreographed by John Neumeier, at the Hamburg State Opera in 1981. [35] The Hamburg Ballet production has been reproduced several times, including at the Brooklyn Academy of Music in New York in 1983 [36] and the Los Angeles Opera in 2022. The Los Angeles Opera presentation involved "42 dancers, six singers, two choruses, and two mighty-in-sound chamber orchestras." [37] 21st century [ edit ] Kleine geistliche Konzerte, Opp.8, 9 (SWV 282-337) Opus 8: Kleine geistliche Concerte (Leipzig, 1636)Rifkin, Joshua. "The Chronology of Bach's Saint Matthew Passion". In The Musical Quarterly, lxi (1975). 360–387 Mt 27:1–6 [ edit ] 41a. Evangelist, Judas: Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat 41b. Chorus I & II: Was gehet uns das an? Da siehe du zu! 41c. Evangelist, High Priests: Und er warf die Silberlinge in den Tempel 42. Gebt mir meinen Jesum wieder! [ edit ] Sposato, Jeffrey S. The Price of Assimilation: Felix Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition Oxford University Press, 2005:p. 51

Excerpts of the work were performed on the American television program Omnibus on 31 March 1957 in the episode "The Music of J.S. Bach." The presenter and explicator was Leonard Bernstein, who introduced the St Matthew Passion as "that glorious work that started me off on my own private passion for Bach." [34]Mt 26:57–60a [ edit ] 31. Evangelist: Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas 32. Mir hat die Welt trüglich gericht't [ edit ] Amati-Camperi, Alexandra (March 2008). "J. S. Bach: Johannes-Passion". San Francisco Bach Choir. Archived from the original on 2015-07-12. Many composers wrote musical settings of the Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26–27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.

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