St. John Passion: Part II, No. 17, Ach grosser König

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The Netherlands Bach Society

Plate W. V This file is part of the Sibley Mirroring Project. Plate BA Bach P 29 27 pp. Copyist Arthur Mendel Page size is In what capacity is Mendel serving as editor- did he copy out the manuscript or is he providing editorial commentary? Editor Fabio M. Bach St Copyist See note. Bach St Realisation of recitative cembalo.

JOHANN SEBASTIAN BACH St John Passion. Orchestra of the Eighteenth Century, Frans Brüggen

Pub lisher. Leipzig: C. Peters , n. New York: E. Kalmus , n. These files are part of the Orchestra Parts Project. Plate Wb. Reissue — , Orchester-bibliothek No. Editor Hermann Kretzschmar — preface. Editor Woldemar Bargiel — Arranger Emmanuel Legrand. Arranger Staffan Lundberg. Arranger Arthur Willner II Piano Solo C. Chorale: In meines Herzens Grunde Within our inmost being 27a.

Evangelist: Die Kriegsknechte aber, da sie Jesum gekreuziget hatten Then the soldiers, when they had crucified Jesus, took his garments 27b. Chorus: Lasset uns den nicht zerteilen Let us not rend it 27c. Chorale: Er nahm alles wohl in acht He thought of everything Aria; counter-tenor: Es ist vollbracht! It is finished! Evangelist: Und neiget das Haupt und verschied And he bowed his head, and gave up the ghost Chorus: Ruht wohl, ihr heiligen Gebeine Lie in peace, sacred body In the early 18th century it was highly contentious to write Passion music in an operatic style.

Although some people argued that an operatic style allowed composers to arouse the emotions contained in the Passion story, other Lutherans preferred old-fashioned styles such as motets that conveyed solemnity and devotion. The polarised opinions aroused by pieces similar to the St John Passion can be sensed from two accounts of the time.

Gottfried Ephraim Scheibel claimed that performing Passions in an operatic style was a way to attract large congregations to church:. I marvelled how diligently people listened and how devoutly they sang along; it was the moving music that contributed the most to this, and even though the service lasted more than four hours, everyone stayed until it was over.

But of course there were also such spirits as take pleasure in such vain aberrations, especially if they are of a sanguine nature and are given to voluptuousness. Or to take another example, oratorios with librettos by Brockes had abandoned in "Betrachte, mein Seel" "Consider, O my soul" the the scriptural text altogether. Biblical text in the St John Passion. The further layers of text, creating a rich in such vain aberrations, poetic framework for the music. For instance, the first Christian Gerber a local theologian.

The constant back after the scourging are compared to "the most interplay between the three levels of text in the beautiful of rainbows" and described as a "symbol Passion — the Bible, the ornate poetry for the arias,. Programme note continued and the chorale texts — multiplies the significance of the narrative, increasing its richness and poignance. There are fewer arias than being felt by individuals at lute evoked the otherin the St Matthew Passion, restricting various points in the story.

Sometimes arias in the Passion. In Jesus. Although Bach was always keen to experiment with unusual sonorities, here he also followed the standard scorings associated with funerals. The viola da gamba and the lute were both quiet instruments, increasing falling into obsolescence in an age that valued more powerful sounds. Their delicate timbre evoked the other-worldly experience of death, increasing the intensity of the pivotal arias in the Passion.

Here the key turns to D major, and the voice and strings imitate the fanfares of trumpets on the words "Der Held aus Juda siegt mit Mach" "The hero from Judah triumphs with might". Despite the many operatic elements in the arias of the Passion, Bach also retained aspects of Lutheran. The congregation would have recognised the tunes and words of the chorales, which were used regularly in private devotion during the 18th century as well as in church services.

It is unclear if the congregation actually sang the chorales — which are often stated in unsuitable keys for untrained voices, or with the melody shrouded by complicated harmonies — but they doubtless would have recited the words quietly to themselves during the performance. Bach also asserted his Lutheran heritage in the extended choruses that act as the opening and penultimate movements. The opening chorus takes as its starting-point words from Psalm 8 — "Herr unser.

Herrscher, dessen Ruhm in allen Landen herrlich ist" "O Lord our governor, how excellent is thy name in all the world" — but the mood is one of foreboding, created by the swirling figures in the strings and the interlocking dissonance in the woodwind. Further agitation is caused by the pulsing pedal notes in the bass and the rising sequences in the voices.

By contrast, the penultimate movement, "Ruht wohl", is a gentle triple-time dance, with falling figures suggesting the lowering of Christ into the grave. Indeed, its key of C minor was associated by Baroque theorists with sleep in this case, the sleep of death.

Bach - St John Passion

By deploying his substantial ensemble in highly affective movements such as these choruses, Bach offered an unprecedented experience for his congregation in Leipzig. Such repeated revisions were not unusual in early 18th-century music; a composer would adapt a piece to the performers available, as well as to possible external factors such as the tastes of the audience or patron. Some of the revisions, particularly the version, go beyond simple adaptation as to change entirely the overall shape and narrative dynamic of the work. And in addition to the four versions that can be associated with specific performances, Bach also began a major revision of his autograph score of the St John Passion around This revision was.

It uses the same order of movements as the version that is the normal choice for modern performances. But there are many small differences in the melodic writing, which is less elaborate than in subsequent versions. The vocal lines in the arias tend to have plain leaps rather than florid stepwise ornamentation.

The counter-tenor and tenor parts in the chorales are less prominent, moving in the same rhythms as the outer parts rather than containing their own faster counter-melodies. The surviving parts suggest that Bach used a small orchestra in the version, giving an intimacy. To balance this substantial new first movement, he closed the version with a choral setting of the German Agnes Dei "Christe du Lamm Gottes".

Subsequently Bach removed many of these insertions, in part to differentiate the work from the St Matthew Passion. The different versions of the St John Passion usually remain hidden in the appendix of the complete edition, as an object purely of scholarly interest. Both the St John and St Matthew Passions feature prominently, in his schedule and he is celebrated as perhaps the finest Evangelist of his generation. A prolific and versatile recitalist, James enjoys imaginative programming, working with pianists including Julius Drake, Malcolm Martineau and most notably Anna Tilbrook, with whom he celebrated 20 years of collaboration last year.

A former Cambridge choral scholar, he went on to study singing at the Royal Academy of Music. He recently made his Broadway debut in a revival of his westend theatre project, Farinelli and the King, with Mark Rylance. This season sees his debut in the title role of Idomeneo.

First of all, what is a viola da gamba?

They spoke about it

The gamba may look similar to the cello from distance but it is from a different family. It seems that one day, during the second half of the 15th century, somebody in Spain thought of playing a guitar-like instrument called a Vihuela with a bow! Evangelist And Hannas send Him bound to the high priest Caiaphas.

Simon Peter stood and warmed himself, when they said to him: 12b. Chorus Aren't you one of His disciples? Evangelist He denied it however and said: Peter I am not. Evangelist One of the high priest's servants, a friend of the man whose ear Peter had cut off, said: Servant Didn't I see you in the garden with Him?

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Evangelist Then Peter denied it again, and just then the cock crew. Then Peter recalled Jesus' words and went out and wept bitterly. Chorale Peter, who did not recollect, denied his God, who yet after a serious glance wept bitterly.

Jesus, look upon me also, when I will not repent; when I have done evil, stir my conscience! Evangelist Sie antworteten und sprachen zu ihm: 16b. Evangelist Da sprach Pilatus zu ihnen: Pilatus So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze! Evangelist Jesus antwortete: Jesus Redest du das von dir selbst, oder haben's dir andere von mir gesagt? Evangelist Then they led Jesus before Caiaphas in front of the judgment hall, and it was early.

And they did not go into the judgment hall, so that they would not become unclean; rather that they could partake of Passover. Then Pilate came outside to them and said: Pilate What charge do you bring against this Man? Evangelist They answered and said to him: 16b. Chorus If this man were not an evil-doer, we wouldn't have turned Him over to you. Evangelist Then the Jews said to him: 16d.

Chorus We may not put anyone to death. Evangelist So that the word of Jesus might be fulfilled, which He spoke, where He indicated what death He would die. Evangelist Jesus answered: Jesus Do you say this of yourself, or have others said this of Me? Your people and the high priests have delivered You to me; what have You done? Evangelist Jesus answered: Jesus My Kingdom is not of this world; if my Kingdom were of this world, my servants would fight over this, so that I would not be handed over to the Jews; now however my Kingdom is not from here.

Keins Menschen Herze mag indes ausdenken, Was dir zu schenken. Ich kann's mit meinen Sinnen nicht erreichen, Womit doch dein Erbarmen zu vergleichen. Wie kann ich dir denn deine Liebestaten Im Werk erstatten? Chorale Ah great King, great for all times, how can I sufficiently proclaim this love? No human's heart, however, can conceive of a fit offering to You. I cannot grasp with my mind, how to imitate Your mercy.

How can I then repay Your deeds of love with my actions? Evangelist Da schrieen sie wieder allesamt und sprachen: 18b. Chor Nicht diesen, sondern Barrabam! I was born for this, and came into the world, that I might bear witness to the Truth. Whoever is of the truth hears My voice. Evangelist Pilate said to Him: Pilate What is truth?

Evangelist And when he had said this, he went out again to the Jews and said to them: Pilate I find no fault in Him. However, you have a custom, that I release someone to you; do you wish now, that I release the King of the Jews to you? Evangelist Then they all cried out together and said: 18b. Chorus Not this one, but Barrabas! Evangelist Barrabas however was a murderer. Then Pilate took Jesus and scourged Him.

Arioso B Contemplate, my soul, with anxious pleasure, with bitter joy and half-constricted heart, your highest Good in Jesus' suffering, how for you, out of the thorns that pierce Him, the tiny 'keys of Heaven' bloom! You can pluck much sweet fruit from his wormwood; therefore gaze without pause upon Him!

Aria T Consider, how His blood-stained back in every aspect is like Heaven, in which, after the watery deluge of the flood of our sins was released, the most beautiful rainbow as God's sign of grace was placed! Evangelist Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen: 21b.

Evangelist Und gaben ihm Backenstreiche. Evangelist Also ging Jesus keraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen: Pilatus Sehet, welch ein Mensch! Evangelist Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen: 21d. Chor Kreuzige, kreuzige!

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Evangelist Pilatus sprach zu ihnen: Pilatus Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm! Chor Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht. Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm: Pilatus Redest du nicht mit mir? Evangelist And the soldiers wove a crown of thorns and set it upon His head, and laid a purple mantel on Him, and said: Evangelist And gave Him blows on the cheek. Then Pilate went back outside and spoke to them: Pilate Behold, I bring Him out to you, so that you recognize, that I find no fault in Him.

Evangelist Then Jesus went out and wore a crown of thorns and a purple mantel. And Pilate said to them: Pilate Behold, what a Man! Evangelist When the high priests and servants saw Him, they screamed and said: 21d. Chorus Crucify, crucify! Evangelist The Jews answered him: 21f. Evangelist When Pilate heard this, he became more afraid and went back inside to the judgment hall and said to Jesus: Pilate Where do You come from?

Evangelist But Jesus gave him no answer. Then Pilate said to Him: Pilate You don't speak to me? Don't You know that I have the power to crucify You, and the power to release You? Evangelist Jesus answered: Jesus You would have no power over Me, if it were not given to you from above; therefore, he who has delivered Me to you has the greater sin. Chorale Through Your prison, Son of God, must freedom come to us; Your cell is the throne of grace, the sanctuary of all the righteous; for if you had not undergone servitude, our slavery would have been eternal.

Evangelist Sie schrieen aber: 23d. Chor Weg, weg mit dem, kreuzige ihn! Evangelist Die Hohenpriester antworteten: 23f. Evangelist The Jews, however, screamed and said: 23b. Chorus If you let this man go, you are not a friend of Caesar; for whoever makes himself a king is against Caesar.

Evangelist When Pilate heard this, he brought Jesus outside and sat upon the judgment seat, at the place that is called High Pavement, in Hebrew however: Gabbatha.

J.S. Bach: St. John Passion, BWV 245 / Part Two - No.17 Choral: "Ach großer König, groß zu...

Evangelist But they shrieked: 23d. Chorus Away, away with Him, crucify Him!

St. John Passion: Part II, No. 17, Ach grosser König St. John Passion: Part II, No. 17, Ach grosser König
St. John Passion: Part II, No. 17, Ach grosser König St. John Passion: Part II, No. 17, Ach grosser König
St. John Passion: Part II, No. 17, Ach grosser König St. John Passion: Part II, No. 17, Ach grosser König
St. John Passion: Part II, No. 17, Ach grosser König St. John Passion: Part II, No. 17, Ach grosser König
St. John Passion: Part II, No. 17, Ach grosser König St. John Passion: Part II, No. 17, Ach grosser König
St. John Passion: Part II, No. 17, Ach grosser König St. John Passion: Part II, No. 17, Ach grosser König

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