St. Matthew Passion: Part I, No. 15, From Ill do Thou Defend Me

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The only rational explanation is that this track is a pomo-populist joke gone horribly wrong. And yes, yes, I know, the original Bach is still there, it's just a different context, who cares, nobody owns the Matthew Passion, only a tiny percentage of those watching would have recognised this musical horror show for what it was, it's just music to be sampled and used in new ways, etc.

All true — but not, for the love of Bach, music, and even God, like this! The mind boggles as to what dire musical offering the BBC might have in store for us when young Andy almost inevitably loses some time in the second week of Wimbledon. Order by newest oldest recommendations. Show 25 25 50 All.


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Du sollt nicht toedten zorniglich, Nicht hassen noch selbst raechen dich, Geduld haben und sanften Muth Und auch dem Feind thun das Gut'. Du sollt kein falscher Zeuge sein, Nicht luegen auf den Naechsten dein, Sein' Unschuld sollt auch retten du Und seine Schand' decken zu. Es ist mit unserm Thun verlor'n, Verdienen doch eitel Zorn. William Hoffman wrote June 22, Farseth "Nun lob', mein' Seel', den Herren" http: When Bach took up his new, second cycle of church year cantatas, he showcased well-known and appropriate chorales, beginning with the second half of the church year, the omnes tempore Sundays of Trinity Time.

In choosing the initial chorales to be presented systematically during the initial Trinity Time, Bach was motivated by other factors. Interestingly, it has settings in the initial de tempore Nos.

Chill-out Bach: tennis serves up most nauseating musical experience ever

In the omnes tempore section, Nos. Now the Leipzig music director and St. Thomas church cantor, Bach in June , after an initial church year cycle, turned to omnes tempore chorales found in the NLGB. The exception were the pietists with their interest in personal and devotional sacred songs. Most of the new chorales, while still based popular melodies, often dealt with the omnes tempore themes that orthodox Lutheran pastors sought to teach and sermonize on, particularly in Leipzig where Bach could enjoy the best of both worlds, so to speak.

The wealth of established omnes tempore chorales enabled Bach to compose chorale cantatas and the pastors to sermonize on the chorale. While the Trinity Time hymns rarely spoke directly to the Sunday Gospel lessons, the chosen themes often related to the lessons. They served as the theological, liturgical, and catechismal underpinnings of the word of God through the service of the sermon and the cantata as the musical version of the sermon. During Trinity Time, there was a great deal of flexibility in the use of hymns although many traditions were being developed, such as the chorale and emblematic sermons addressing a series of themes and characteristics pastors and composers for the hymn of the day de tempore and the pulpit and communion hymns.

For 25 Sundays in Trinity Time , Bach chose eclectic chorales that reflected the thematic teachings. There are other harmonisations of the tune in the Choralgesange, Nos. For the B flat which Bach substitutes for D at the eleventh note in the second part of the tune, and for the C natural in place of G at the penultimate note, there is early authority and respectively. The settings are found under various initial texts with similar melody: For this complex of texts and melodies connected with: Augmented with the proper acculturation, music can indeed trigger emotions reliably, which in turn grants the composer a measure of communicable intentionality.

Bach stretched the idea further by decorating his texts with generous aural imagery. Each time, the accompanying text lifts the ambiguity at least if you speak German. Having indulged in this pastime, I know the feeling.

BWV - St Matthew Passion - All of Bach

My fanhood is shamelessly unintellectual. I love Bach because his music is the most formidable elation machine ever engineered. To be sure, there is a wide spiritual canvas on which to draw our analyses, but analysis is optional. The thrill is not. So forget the cerebral razzle-dazzle. The music is corporeal, sensuous, and intoxicating.

Bach, the most human of all composers, gets to your soul through your body. As ill fate would have it, his public image has been defined by difficult pieces eg, the Art of Fugue or lesser works of dubious attribution e. While Bach continues to be more admired than loved, his glorious cantatas, accessible and breathing with humanity, remain largely ignored. No doubt this humble article will take care of that….

If, as they say, all of Western philosophy is a footnote to Plato, then all of Western music is a commentary on the Thomascantor.

A Cosmologist of Music: 29 of My Favorite Things by Bach

Matthew Passion to popularize the Baroque master, it is a common misconception that Bach was ignored until then. Mozart, not a person afflicted by low self-esteem, said of him:. OK, you get the point. The composer of the Mass in B minor loved to jam on the pop tunes of the day: The man was quite the artist.

Just as Newton had worked out the laws of planetary motion, so Bach set out to discover the laws of the musical universe. Therein lies the reason for his breathtaking versatility. With rare exceptions — the St Matthew Passion and his didactic works come to mind — Bach showed little interest in preserving his art for posterity.

MATTHEW-BASICS

This is perfectly rational. No need to believe in God to see that, if your purpose in life is to divine the secrets of music to please the Lord, why worry about your earthly legacy or the ravings of a town councilman? Bach was also a humble man, who attributed the quality of his music to hard work. The head of the search committee that hired him in Leipzig famously remarked: Although Bach produced his greatest music in the provincial backwater of Leipzig, a commercial town, working in an idiom that had fallen out of favor, his musical culture was prodigious.

He absorbed, sponge-like, the Dutch organ tradition, the Italian musical theater, and the dance and keyboard music from France. With his personal music library one of the best in Saxony, Bach was able to indulge in the common practice of the day: His composition quilt wove together all of the musical strands of Europe, reaching as far back as Palestrina and even the Gregorian chant compare Mass in B minor. Charles Rosen commented that Vivaldi was good with openings but had the unfortunate habit of running out of ideas almost immediately.

Perhaps the biggest mystery is how one person could have maintained, week after week, such heights of creativity. The great Bach scholar, Christoph Wolff , observed that a professional composer today would probably need a three-year leave of absence to write a piece on the scale of the St. Bach did it in a few weeks.

Does this mean the music was in our head all along and Bach merely switched it on? Not quite, but think about it this way. It reminds us of the aesthetic virtues that live, often hidden, inside each one of us. The audio samples are sorted more or less in order of increasing scope.

About The On Being Project

From the smallest musical phrase to the palindromic vistas of the St. John Passion, Bach shines at all scales. So may this gourmet sampling make you ask for more. How did I choose the tasty morsels? Conducting JSB is a lifetime commitment and only scholars of the music can pull it off. I like it mainly for the instruments that come with it. I am open to all manner of interpretation but rhythm is my red line.

St Matthew Passion, Final Chorus, J.S. Bach

Catchier than a pop tune, this intoxicating tenor aria conjures up the Trinity in countless ways: Just as Schubert can often make a major key sound minor, Bach likes to liven up a minor key here Am with a rhythmic beat of aerial lightness. During several of his Leipzig years, Bach wrote one cantata a week. With Friday-Sunday devoted to copying, rehearsals, and performances, the entire composition, packing more music than a Beatles album, had to be wrapped up in four days. Bach wrote over cantatas in his lifetime, two-thirds of which are still with us.

Together they form the greatest body of vocal works in Western music. The key is a semitone higher.

The wide, obstinate leaps in the continuo the harmonic roadmap add to the sense of confusion. Bach was often accused of mistaking the Thomaskirche for a dance hall, and one can only wonder what he was thinking when he set this enchanting aria to the words: The ending leaves you hanging on the relative major B-flat of the key with the question, Hier hast du die Seele, was schenkest du mir? Bach at his bubbly exuberant best pens one of the most brilliant bridges 2: As often with Bach, the aria climaxes in the middle section, starting with the melismatic emphasis 2: A near-eastern feel is created by the dominant presence of recorders, horns, and oboes.

Jesus, apparently, wants your heart, not your gold: Jesus will das Herze haben. What follows is a triple canon between two oboes and the continuo in an imitative dialogue among the gold, incense, and myrrh.


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The cantus firmus the basic tune is uncharacteristically given to the altos, perhaps to keep the sopranos from interfering with our angels. The first half of the fantasia seems a preparation for the climax at 4: This is sublime craftsmanship.