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[14] In 1749, Bach performed the St John Passion once more, in an expanded and altered form from the 1724 version, in what would be his last performance of a Passion. [ 14 ] Wolff writes: "Bach experimented with the St John Passion as he did with no other large-scale composition", [ 11 ] possible by the work's structure with the Gospel text as ...
The Passio secundum Joannem or St John Passion [a] (German: Johannes-Passion), BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the earliest of the surviving Passions by Bach. [1] It was written during his first year as director of church music in Leipzig and was first performed on 7 April 1724, at Good Friday Vespers at the St ...
Bach's St John Passion contains an alto aria beginning with this line, as a summary immediately after the death of Jesus. The closing chorale of the cantata is the last of 33 stanzas of Paul Stockmann's "Jesu Leiden, Pein und Tod" (1633). [2] [6] Bach probably first performed the cantata on 27 February 1729, or possibly earlier. [2] [9]
The Bach-Gesellschaft Ausgabe (BGA, Bach Gesellschaft edition) kept the chorale settings that were part of a larger vocal work (cantata, motet, Passion or oratorio) together with these larger vocal works and added the Three Wedding Chorales to its 13th volume containing wedding cantatas. The remaining separate four-part chorales, purged from ...
Chorale melodies are often in Bar form, that is, consisting of a repeated first phrase, called Stollen, and a concluding second phrase. The harmonisation of such a chorale melody may repeat the same harmonisation for both passes of the Stollen, or may present a variant harmonisation on the second pass of the first phrase of the melody.
The tradition of the German oratorio Passion began in Hamburg in 1643 with Thomas Selle’s St John Passion and continued unbroken until the death of Carl Philipp Emanuel Bach in 1788. The oratorio Passion, made famous by Johann Sebastian Bach in his St John Passion and St Matthew Passion , is the style that is most familiar to the modern listener.
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Bach's setting is remarkable for its final two bars: the trumpets and timpani create a "magnificent blaze of sound". [2] Bach chose the same stanza of Schalling's chorale to end his St John Passion, in the work's first and last version. [5]
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