St Matthew Passion - Wikipedia, the free encyclopedia. Title page of Bach's autograph score of the St. Matthew Passion. The St Matthew Passion (German: Matth.
It sets chapters 2. Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J. C. Herzliebster Jesu, was hast du verbrochen. Blute Nur Du Liebes Herz Pdf ReaderDu lieber Heiland du . Blute nur, du liebes Herz! Ich bin's, ich sollte b. Wiewohl mein Herz in Tr. Ich will hier bei dir stehen. Hier zittert das gequ. Was mein Gott will, das gscheh allzeit. So ist mein Jesus nun gefangen . O Mensch, bewein dein S. Ach, nun ist mein Jesus hin! Mein Jesus schweigt zu falschen L! Wenn mich falsche Zungen stechen. Wer hat dich so geschlagen. Erbarme dich, mein Gott, um meiner Z. Bin ich gleich von dir gewichen. Gebt mir meinen Jesum wieder! Blute Nur Du Liebes Herz Pdf MergeArtist page : www.free-scores.com/Download-PDF-Sheet-Music-magataganm.htm About the piece. Blute nur, du liebes Herz (Matth. Translation page 2 (pdf) Spotify. Create a free website. Befiehl du deine Wege. Wie wunderbarlich ist doch diese Strafe! Er hat uns allen wohlgetan . Hier steht der Heiland angebunden. O Haupt, voll Blut und Wunden. Ja, freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein . Ach Golgatha, unselges Golgatha! Wenn ich einmal soll scheiden. Nun ist der Herr zur Ruh gebracht. Wir setzen uns mit Tr. 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. The St Matthew Passion was probably first performed on 1. April 1. 72. 7 in the St. Thomas Church, and again on 1. April 1. 72. 9, 3. March 1. 73. 6, and 2. March 1. 74. 2. Bach then revised it again between 1. First version (BWV 2. In 1. 72. 5 Christian Friedrich Henrici, a Leipzig poet having chosen Picander as pen name, had published Erbauliche Gedanken Auf den Gr. 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 2. Gospel of St Matthew. Since 1. 97. 5 it is usually assumed that Bach's St Matthew Passion was first performed on Good Friday 1. April 1. 72. 7. Thomas Church (Thomaskirche) in Leipzig. Bach was Thomaskantor (i. Cantor, and responsible for the music in the church) since 1. 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 traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). 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 music of the cantata consisted largely of music adapted from the St Matthew Passion. Thomas Church, that would have fitted Chorus II and Orchestra II of the St Matthew Passion in Bach's time (note: the organ on this photograph is a late 2. At the time only men sung in church: high pitch vocal parts were usually performed by treble choristers. In 1. 73. 0 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. Thomas were with less than twenty singers, even for the large scale works like the St Matthew Passion that were written for double choir. Thomas Church had two organ lofts: the large organ loft that was used throughout the year for musicians performing in Sunday services, vespers, etc., and the small organ loft, situated at the opposite side of the former, that was used additionally in the grand services for Christmas and Easter. 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 strings and singers) would have a limited number of performers, where, for the choruses, the numbers indicated by Bach in his 1. This is the version (with some possible later adjustments) that is generally known as the St Matthew Passion, BWV 2. 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 choir, and in addition for choir I two oboes da caccia. Bach finalized his autograph score 1. The two main schemes in use today are the scheme from the Neue Bach- Ausgabe (NBA, New Bach Edition) which uses a 1 through 6. Bach- Werke- Verzeichnis (BWV, Bach Works Catalog) scheme which divides the work into 7. Both use lettered subsections in some cases. Part Two uses Matthew 2. Other libretto sections came from publications by Salomo Franck and Barthold Heinrich Brockes. The oldest chorale Bach used in the St Matthew Passion dates from 1. Paul Gerhardt, Bach included five stanzas from his O Haupt voll Blut und Wunden. 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. Chorales in St Matthew Passion. Author. Date. Hymn; Stanza. Stanza incipit. No. Set as.. Decius, Nikolaus. Nikolaus Decius. 15. O Lamm Gottes, unschuldig. O Lamm Gottes, unschuldig. No. 2. 9, concluding Part One, is a four- part setting of the chorale . Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 2. 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. 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 chorales, which appear in standard four- part settings, as interpolations in arias, and as a cantus firmus in large polyphonic movements. This was sung only in 1. No. 6. 1a (Bible words written in red) in Bach's autograph score: the recitative contains Christ's last words, and the only words by Christ sung without the characteristic string section accompaniment (. 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). These are not always sung by all different soloists. 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 Christ), usually 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 . Only his final words, in Aramaic, Eli, Eli lama asabthani? 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. Jesus is often referred to as . The chorus alternates between participating in the narrative and commenting on it. Following the concept of Anselm of Canterbury, the 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. This theme is reinforced by the concluding chorale of the first part, O Mensch, bewein dein' S. 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 . Bach often uses madrigalisms, as in . Direct speech sections of the Gospel text are brought by other singers in the same . Jesus' disciples) are sung by the choir, usually accompanied by the complete orchestra. Apart from the Evangelist and the Vox Christi the dramatis personae of these Gospel sections of the St Matthew Passion consists of: Judas (B), Peter (B), two witnesses (A T), two high priests (B), two maids (S), Pilate (B) and his wife (S)A small group is represented by Chorus I or Chorus II separately (Chorus I always for the disciples); High priests and larger groups of people are sung by Chorus I and II together. Interpolated text. These sections are based nearly exclusively on texts by Picander. The arias are in da capo format (ternary form). In these movements the singers are accompanied by one or a few solo instruments and continuo, occasionally completed by other instrument groups of the orchestra. In the St Matthew Passion there are three such extended choral movements: the opening chorus (. The text is sung in homophony by a four- part chorus with colla parte accompaniment by the orchestra. Recitative Du lieber Heiland du and Aria Bu. Aria Blute nur, du liebes Herz! Recitative Wiewohl mein Herz in Tr. Hier zittert das gequ? Recitative Der Heiland f. Aria So ist mein Jesus nun gefangen! O Mensch, bewein dein S.
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