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Recordings of the St John Passion are shown as a sortable table of selected notable recordings of Johann Sebastian Bach's St John Passion, BWV 245. The selection is taken from the 241 recordings listed on bach-cantatas as of 2015.
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 ...
The St John Passion, BWV 245 is the first Passion Bach composed during his tenure as Thomaskantor in Leipzig, a tenure that started after the Easter season of 1723. Apart from the German translation of parts of the Gospel of St John and several Lutheran chorales, it used text of the Brockes Passion for its arias.
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.
St. John Passion, Bach's last revision (1749), BDW 00310; BWV 247 – St Mark Passion (Markus-Passion) (libretto is extant; although the music is lost much of it is reconstructable based on associated compositions) BWV deest – Weimarer Passion (lost, music partially recuperated in other compositions), BDW 01533
H 71138 DEMANTIUS: St. John Passion; Prophecy; H 71139 BRUCKNER: Sym No 7 in E (orig version) H 71140 ELGAR/SIBELIUS: String Quartets; H 71141 A BOUQUET OF OLD VIENNA DANCES; H 71142 BACH: Cantatas, BWV 169 & 56; H 71143 HAYDN: Piano Sonatas Nos 20, 23, 52; H 71144 BACH: 2- & 3-part Inventions (complete) H 71145 BAROQUE FANFARES & SONATAS FOR BRASS
CD 1–64: Johann Sebastian Bach, including two recording for each of the Mass in B minor (1961 & 1969) and St Matthew Passion (1958 & 1979) and the rehearsals for the 1965 recording of the Christmas Oratorio; the St John Passion; the cantatas for all the Sundays and feast days; the Magnificat; the Brandenburg Concertos and his praised ...
Unlike Bach's earlier existing passions (St John Passion and St Matthew Passion), the Markus-Passion is probably a parody—it recycles previous works.The St Mark Passion seems to reuse virtually the whole of the Trauer Ode Laß, Fürstin, laß noch einen Strahl, BWV 198, [1] along with the two arias from Widerstehe doch der Sünde, BWV 54.
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