49, "Aus Liebe will mein Heiland sterben", where the absence of strings and basso continuo mark a desperate loss of security. Toque músicas completas do álbum St Matthew Passion, BWV 244: Aria (alto): Buss und Reu de em seu telefone, computador e sistema de áudio em casa com o Various Artists. 1. The opening chorus continues by taking up the questions and answers by Chorus I and II again, now adding: Sehet — Was? J.S. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). Alto: "Erbarme dich, mein Gott" de Dame Janet Baker & Münchener Bach-Orchester & Karl Richter sur Amazon Music. Only his final words, in Aramaic, Eli, Eli lama asabthani? Unlike the opera, the best-known type of musical drama, the oratorio does not use costumes, makeup, or musicians who act while they sing. The speech of other persons, called soliloquents, is also set as secco recitative. 29, concluding Part One, is a four-part setting of the chorale "Jesum lass ich nicht von mir" instead of the chorale fantasia on "O Mensch, bewein dein Sünde groß".[5]. Label: Angel Records - S 36163,Angel Records - 36163,Angel Records - S. 36163 • Format: Vinyl LP, Stereo • Country: UK • Genre: Classical • Johann Sebastian Bach's St Matthew Passion (Matthäuspassion), BWV 244, is structured on multiple levels: the composition is structured in three levels of text sources (Gospel, libretto and chorales) and by the different forms that are used for musical expression (arias, recitatives and choruses). Extrait de l'album « J.S. No digital booklet included Add download to basket. 30). Outside in the courtyard (No. VIOLINISTS! Bach. Jesus is silent to this, but his answer to the question if he is the Son of God is considered a sacrilege calling for his death. BWV 244b ; BC D 3a I-Catalogue Number I-Cat. Baroque music--and Bach--were eclipsed into obscurity in the early 1800s as romantic symphonies became the musical rage--until a famous 1829 revival of the St. Matthew Passion by Felix Mendelssohn showed Berliners what they'd forgotten. Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo. The speech of Jesus sings in accompagnato recitative, except at the beginning of No. 66) officials remind Pilate of the talk of resurrection and ask for guards and a seal for the grave to prevent fraud. and Chorus II promptly asks Wen? The words of Jesus, also termed Vox Christi (voice of Christ), usually receive special treatment. Even his last words are misunderstood. The following day (No. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). The first scenes are in Jerusalem: Jesus announces his death (No. Discovering it was an equally electric revelation for me. English music album J.S. "Descent from the Cross; Christ's burial", 16. 62, "tear me from my fears / through your own fear and pain." 38) Peter is told three times that he belongs to Jesus and denies it three times – then the cock crows. [9], Bach revised the Passion by 1736, for a performance on Good Friday 30 March 1736. On the way to the crucifixion site (No. St. Matthew Passion for 2 sopranos, alto, 3 tenors, 2 basses & chorus, SWV 479 ... eschewing the interpolation of arias and chorales commenting on the unfolding drama that would become ... the St. Matthew Passion, can be ascribed to that year with reasonable accuracy. There had already been a long history of Passion music – that is musical settings telling the story of the final, short period in the life of Jesus. Rosette. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. No. Part I ends with a chorale fantasia that is based on the opening chorus of the St John Passion in its second version, also performed by both choirs in unison, whereas the opening chorus is for double choir with the chorale "O Lamm Gottes, unschuldig" as the cantus firmus, which was originally played, later sung. The St Matthew Passion was composed as to perform a single work from both organ lofts at the same time: Chorus and orchestra I would occupy the large organ loft, and Chorus and orchestra II performed from the small organ loft. Zelter was reluctant but eventually gave his approval; that of the Singakademie board followed.[29]. Excerpts of the work were performed on the American television program Omnibus on 31 March 1957 in the episode "The Music of J.S. Also on CyberBass ... Bach - B Minor Mass . Soloists sing the words of various characters, also in recitative; in addition to Jesus, there are named parts for Judas, Peter, two high priests (Pontifex I & II), Pontius Pilate, Pilate's wife (Uxor Pilati), two witnesses (Testis I & II) and two ancillae (maids). Bach's recitatives often set the mood for the particular passages by highlighting emotionally charged words such as "crucify", "kill", or "mourn" with chromatic melodies. For practical reasons the continuo organ is often shared and played with both orchestras. — seht die Geduld (See it! The arias are taken from Bach's major works: Buss' und reu from and Erbarme dich from the St Matthew Passion, Wo zwei und drei and Zum reinen wasser which appear in the Eastertide cantatas, and the Agnus Dei from the B Minor Mass. 19), two oboes, in certain movements instead oboe d'amore or oboe da caccia, two violins, viola, viola da gamba, and basso continuo. Both include two transverse flutes (Choir 1 also includes 2 recorders for No. St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. This 2019 recording marks 20 years for that recording, with the complete sacred and secular cantatas behind them, not to mention numerous recordings of other composers. Helen Johnston (a student at Queen's College, London) translated the libretto of the Passion, and Bennett conducted the first English performance at the Hanover Square Rooms London on 6 April 1854 (the same year that it appeared in print by the Old Bach Society (Alte Bach-Gesellschaft). Bach: St. Matthew Passion, BWV 244 / Part One - No.27 Aria (Soprano, Alto, Chorus II): "So ist mein Jesus nun gefangen" - Chorus I/II: "Sind Blitze, sind Donner", a song by Claudia Schubert on TIDAL by Chorus II, to which Chorus I answers als wie ein Lamm (just like a lamb – another reference to Christ). 1989 Preview SONG TIME St. Matthew Passion, BWV 244: No. No. [4][5] Movement numbers in this article follow the NBA scheme, except for the table with the movements that cross-references both numbering systems. After the meal they go together to the Mount of Olives (No. – meaning: Am I the one going to betray? Herzliebster Jesu, was hast du verbrochen, Without text (played by organ only) in older versions of the Passion, Und da sie den Lobgesang gesprochen hatten, O Schmerz! Particular highlights of the St. Matthew Passion include two incredible alto arias: ‘Erbarme dich’, an exquisitely touching piece with a solo violin part which provides a moment of reflection after Peter's third betrayal of Jesus; and ‘Können Tränen meiner Wangen’, whose impassioned broken chords reference the shape of the cross, with which Jesus is then beginning his journey. The last column shows the incipit, the first measures of each movement with text. (My God, my God, why have you forsaken me? Arias from St. Matthew Passion & Messiah. Continuo are violoncello, double bass, bassoon, and organ. All sentences of the first stanza of Decius' hymn are used as cantus firmus throughout the movement by the ripienists. St. Matthew Passion - Rilling: Lieder wrote (July 10, 2001): I currently own the Klempler and Gardiner recordings of the St.Matthew Passion, and, unlike many listeners, enjoy both versions. Buy CD online. 6, "Buß und Reu", portrays a desire to anoint Jesus with her tears out of remorse. The 20-year-old Felix himself conducted the rehearsals and first two performances by the Singakademie. The dialogue with these questions is repeated, and then, from measure 30, Chorus I sings the text of the incipit again while in ripieno sopranos sing the first two lines of Nikolaus Decius' chorale "O Lamm Gottes, unschuldig" (O Lamb of God, innocent) as the cantus firmus. Listen to Bach: Famous Chorales & Arias from St. Matthew Passion by Orchestra of Radio Sofia on Deezer. 56, "Yes, of course this flesh and blood in us / want to be forced to the cross; / the better it is for our soul, / the more bitter it feels.". 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