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It sets chapters 26 and 27 of the Gospel of Matthew in the Luther I Dont Want To Say Goodbye - Silverspirits Relentless Remix - SilverSpirit - I Dont Want To Say G to music, with interspersed chorales and arias. It is widely regarded as one of the greatest masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.
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 Passionfirst performed in 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. Thomas Churchand again on 15 April30 Marchand 23 March Bach then revised it again between and In Leipzig it was not allowed to paraphrase the words of the Gospel in a Passion presentation on Good Friday.
Bach seems to have stimulated the poet to write more of such verse in order to come to a full-fledged libretto for a Passion presentation combined with the Passion text chapters 26 and 27 in the Gospel of St Matthew. Since it is usually assumed that Bach's St Matthew Passion was first performed on Good Friday 11 April although its first performance may have been as late Johann Sebastian Bach - Choruses And Arias From The Passion According To Saint Matthew Good Friday as older sources assert.
Thomas Church Thomaskirche in Leipzig. Bach was Thomaskantor i. Cantorand responsible for the music in the church since In this version the Passion was written for two choruses and orchestras. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversostwo oboestwo oboes d'amoretwo oboes da caccialutestrings two violin sections, violas and cellosand continuo at least organ. The music of the cantata consisted largely of music adapted from the St Matthew Passion.
At the time only men sang in church: high pitch vocal parts were usually performed by treble choristers. In Bach informed the Leipzig Town Council as to what he saw as the number of singers that should be available for the churches under his responsibility, including those for the St. Thomas Church: a choir of twelve singers, plus eight singers that would serve both St. Thomas and the Peterskirche. The request was only partially granted by the Town Council,  so possibly at least some of the Passion presentations in St.
Thomas were with fewer than twenty singers, even for the large scale works, like the St Matthew Passionthat were written for double choir. In Bach's time St. Thomas Church had two organ lofts: the large organ loft that was used throughout the year for musicians performing in Sunday services, vespers, etc. 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.
The size of the organ lofts limited the number of performers for each Choir. Large choruses, in addition to the instrumentists indicated for Choir I and II, would have been impossible, so also here there is an indication that each part including those of Johann Sebastian Bach - Choruses And Arias From The Passion According To Saint Matthew and singers would have a limited number of performers, where, for the choruses, the numbers indicated by Bach in his request would appear to be more than?
Bach revised the Passion byfor a performance on Good Friday 30 March In this version both choirs have SATB soloists and chorus, and a string section and continuo consisting of at least violins I and II, viola, gamba and organ.
The woodwinds are two traversos, oboes and oboes d'amore for each Tamanco No Samba - Os Mensajeiros - Canções Do Brasil, and in addition for choir I two oboes da caccia.
Some parts were adjusted for a new performance on Good Friday 23 March Bach finalized his autograph score in —; however, this undertaking was not tied to any new performance. Bach did not number the sections of the St Matthew Passionall of them vocal movementsbut twentieth-century scholars have done so. Both use lettered subsections in some cases. Bach worked together with his librettist, Christian Friedrich Henrici, known as Picander  who published the text of the libretto of the St Matthew Passion in The Bible text used for Part One is Matthew — Part Two uses Matthew —75 and Matthew — Picander wrote text for recitatives and arias, and for the large scale choral movements that open and close the Passion.
The chorale melodies and their Johann Sebastian Bach - Choruses And Arias From The Passion According To Saint Matthew Chorale Prelude Wachet Auf (Sleepers Wake) - Louis Clark, The Royal Philharmonic Orchestra, Barry have been known to those attending the services in the St Thomas church.
The oldest chorale Bach used in the St Matthew Passion dates from Bach used the hymns in different ways, most are four-part setting, two as the cantus firmus of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative. In the early version BWV b the chorale No. Many composers wrote musical settings of Johann Sebastian Bach - Choruses And Arias From The Passion According To Saint Matthew Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Johann Sebastian Bach - Choruses And Arias From The Passion According To Saint Matthew 26—27 in a relatively simple way, primarily using recitativewhile 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.
The St Matthew Passion is set for two choirs and two orchestras. Both include two transverse flutes Choir 1 also includes 2 recorders for No. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. Two distinctive aspects of Bach's setting spring from his other church endeavors.
One is the double-choir format, which stems from his own double-choir motets and those of many other composers with which he routinely started Sunday services. The other is the extensive use of choraleswhich appear in standard four-part settings, as interpolations in arias, and as a cantus firmus in large polyphonic movements. This was sung only in and — and had been played on the organ before. The narration of the Gospel texts is sung by the tenor Evangelist in secco recitative accompanied only by continuo.
These are not always sung by all different soloists. The "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Two duets are sung by a pair of soloists representing two simultaneous speakers. A number of passages for several speakers, called turba crowd parts, are sung by one of the two choirs or both.
The words of Jesus, also termed Vox Christi voice of Christusually receive special treatment. Bach created particularly distinctive accompagnato recitatives in this work: they are accompanied not by continuo alone, but also by the entire string section of the first orchestra using long, sustained notes and "highlighting" certain words, thus creating an effect often referred to as Jesus's "halo".
Only his final wordsin AramaicEli, Eli lama asabthani? My God, my God, why have you forsaken me? In the revision of —, it is also these words the Vox Christi that receive a sustained continuo part. The arias, set to texts by Picanderare interspersed between sections of the Gospel text. They are sung by soloists with a variety of instrumental accompaniments, typical of the oratorio style. The interpolated texts theologically and personally interpret the Gospel texts.
Many of them include the listener into the action, such as the chorale No. The alto aria No. The bass aria No. Jesus is often referred to as "my Jesus". The chorus alternates between participating in the narrative and commenting on it. As is typical of settings of the Passion and originating in its liturgical use on Palm Sundaythere is no mention of the Resurrection in any of these texts apart from indirect allusions at Matthew and and Following the concept of Anselm of Canterburythe crucifixion is the endpoint and the source of redemption ; the emphasis is on the suffering of Jesus.
The chorus sings, in the final chorale No. The first " O Lamm Gottes " chorale compares Jesus' crucifixion to the ritual sacrifice of an Old Testament lamb, as an offering for sin. 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. Diminished seventh chords and sudden modulations accompany Jesus's apocalyptic prophecies. In the turba parts, the two choruses sometimes alternate in cori spezzati style e.
Other times only one chorus sings chorus I always takes the parts of the disciples or they alternate, for example when "some bystanders" say "He's calling for Elijah", and "others" say "Wait to see if Elijah comes to help him. In the arias, obbligato instruments are equal partners with the voices, as was customary in late Baroque arias. In " Blute nur ", the line about the serpent is set with a twisting melody. As in other Passion oratorios the backbone of the structure is the narration of the Gospel, in this case chapters 26 and 27 of the Gospel of Matthew in the German translation of the Luther Bible.
The Evangelista tenor voice, sings the Gospel text in a declamatory style called secco recitativethat is with only a continuo accompaniment.
Direct Johann Sebastian Bach - Choruses And Arias From The Passion According To Saint Matthew sections of the Gospel text are brought by other singers in the same "secco" format e.
In between the sections or scenes of the Gospel text, other texts are sung as a meditation or underlining the action, in a variety of formats:. The work is divided into two parts to be performed before and after the sermon of the Good Friday service. The first scenes are in Jerusalem : Jesus announces his death No. A scene in Bethany No. The next scene No. In a great contrast of mood the preparation for the "Easter meal" Osterlamm is described No.
After the meal they go together to the Mount of Olives No. At the garden of Gethsemane No. It is there No. While soprano and alto mourn in duet, No. In a dramatic highpoint of the Passion,   the chorus No. The next call by Chorus I is Seht ihn See him! 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 Godinnocent as the cantus firmus.
All sentences of the first stanza of Decius' hymn are used as cantus firmus throughout the movement by the ripienists. The opening chorus continues September Song - Billy Daniels - Torch Hour (Vinyl, Album) taking up the questions and answers by Chorus I and II again, now adding: Sehet — Was?
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