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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 ...
Soloists in the order Evangelist , Vox Christi (Voice of Jesus, bass), soprano, alto, tenor (if the tenor arias are performed by a different tenor than the evangelist), bass (if the bass parts are performed by a different bass than the voice of Jesus). Label; Year of the recording; Choir type
The closing chorale [21] is a four-part setting of Stockmann's hymn [6] which summarises the Passion: "Jesu, deine Passion ist mir lauter Freude" ("Jesus, Your passion is pure joy to me"). [1] Gardiner notes that Bach set the melody by Melchior Vulpius with "wonderfully satisfying chromatic harmonies over a lyrical bass line".
This article lists the fugal works of Johann Sebastian Bach, defined here as the fugues, fughettas, and canons, as well as other works containing fugal expositions but not denoted as fugues, such as some choral sections of the Mass in B minor, the St Matthew Passion, the St John Passion, and the cantatas.
The St. John Passion is a through-composed setting of the text of John 18–19, preceded by a short introduction (Exordio) and followed by a brief conclusion (Conclusio). He uses a baritone soloist for Jesus, a tenor for Pilate, and a Soprano-Alto-Tenor-Bass (SATB) quartet for the evangelist. In addition, there are four solo instruments, oboe ...
The Johannespassion (St John Passion), "Der Fromme stirbt", HoWV 1.4, is a Passion scored for five soloists, a four-part choir SATB and orchestra. [12] The final movement has a transition from A minor to a "celebratory" A major, in keeping with John's interpretation of the crucifixion as a victory. [6] C. P. E.
From the 1880s Ferruccio Busoni was adopting chorales in his instrumental compositions, often adapted from or inspired by models by Johann Sebastian Bach: for example BV 186 (c. 1881), an introduction and fugue on "Herzliebster Jesu was hast verbrochen", No. 3 of Bach's St Matthew Passion. In 1897 he transcribed Liszt's Fantasy and Fugue on the ...