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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 seventh chorale, movement 22, is the central movement of the whole Passion, which interrupts the conversation of Pilate and the crowd by a general statement of the importance of the passion for salvation: "Durch dein Gefängnis, Gottes Sohn, ist uns die Freiheit kommen" (Through your prison, Son of God, must come to us our freedom) [8] [22 ...
One voice per part (green background): OVPP or OVPP+R (with ripienists reinforcing the soloists in some chorale movements) Orch. type (orchestra type) Large orchestras (red background): Bach (orchestra dedicated to Bach's music, founded in the mid of the 20th century), Radio (symphony orchestra of a broadcaster), Symphony
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 ...
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.
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.
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Bach wrote the St Mark Passion, BWV 247 for 1731. Picander's libretto for the Passion was once thought to have been destroyed in the bombing of Dresden in World War II, but the recovered copy seems to show that the work was a parody of music from the so-called Trauer-Ode, Laß, Fürstin, laß noch einen Strahl, BWV 198, and that some choruses were used also in the Christmas Oratorio.