Staged productions of the Passion include Lindy Hume's 2005 production for the Perth International Arts Festival, restaged in 2013 for Opera Queensland with Leif Aruhn-Solén [sv], Sara Macliver, Tobias Cole; and Peter Sellars' 2010 production with the Berlin Philharmonic under Simon Rattle with Mark Padmore, Camilla Tilling, Magdalena Kožená, Topi Lehtipuu, Christian Gerhaher and Thomas Quasthoff. He added five movements from his Weimarer Passion, with three texts now thought to be by Christoph Birkmann. Little is known with certainty about the creation process of the St Matthew Passion. (Lord, is it I?) "Er nahm alles wohl in acht" (He of all did well take heed)[8] is stanza 20 of Stockmann's hymn (14). A number of passages for several speakers, called turba (crowd) parts, are sung by one of the two choirs or both. Two distinctive aspects of Bach's setting spring from his other church endeavors. 55) Simon of Cyrene is forced to carry the cross. Stream songs including "St. Matthew Passion, BWV 244: No. I found your Website because of the enthusiastic comments of Robert Murphy who will be participating in the Bach Festival 2000 St. Matthew Passion chorus. RELEASED SEPTEMBER 1, 2005 … Following the concept of Anselm of Canterbury, the crucifixion is the endpoint and the source of redemption; the emphasis is on the suffering of Jesus. 7) has Judas Iscariot negotiating the price for handing Jesus over. Listen to Bach: St. Matthew Passion by Peter Schreier, Rundfunkchor Leipzig & Staatskapelle Dresden on Apple Music. After Peter's denial, "Petrus, der nicht denkt zurück" (Peter, when he fails to think)[8] summarizes the scene with stanza 10 of Paul Stockmann's 1633 hymn "Jesu Leiden, Pein und Tod". The two main schemes in use today are the scheme from the Neue Bach-Ausgabe (NBA, New Bach Edition) which uses a 1 through 68 numbering system, and the older Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) scheme which divides the work into 78 numbers. A small group is represented by Chorus I or Chorus II separately (Chorus I always for the disciples); High priests and larger groups of people are sung by Chorus I and II together. 43), is impressed and is inclined to release him, as it was customary to release one prisoner for the holiday, supported in this by his wife. Once the fuller group of singers and the orchestra were brought in, Devrient recalled, participants were amazed at "the abundance of melodies, the rich expression of emotion, the passion, the singular style of declamation, and the force of the dramatic action. ("Rest gently, gently rest! ", The narration follows Jesus' instructions for securing the upper room for Passover, and the beginning of the Last Supper. The narration of the Gospel texts is sung by the tenor Evangelist in secco recitative accompanied only by continuo. The work is closed by a grand scale chorus in da capo form, choir I and II mostly in unison for the first part Wir setzen uns mit Tränen nieder (We sit down in tears), but in dialog in the middle section, choir II repeating "Ruhe sanfte, sanfte ruh!" In the opening chorus Bach blends Picander’s text with the chorale ‘O Lamb of God most holy’, sung by the ripieno choir, to introduce the Passion. The words of Jesus, also termed Vox Christi (voice of Christ), usually receive special treatment. Large choruses, in addition to the instrumentists indicated for Choir I and II, would have been impossible, so also here there is an indication that each part (including those of strings and singers) would have a limited number of performers, where, for the choruses, the numbers indicated by Bach in his 1730 request would appear to be (more than?) In the middle of the hearing, a chorale (22) interrupts the argument, which is a discussion about freedom and captivity. 6, "Buß und Reu", portrays a desire to anoint Jesus with her tears out of remorse. 10, "Ich bin's, ich sollte büßen" ("It is I who should suffer"), after eleven disciples asked "Herr, bin ich's?" 1730 – he reverted to the originally composed "Herr, unser Herrscher" there). These are not always sung by all different soloists. [13], The Bible text used for Part One is Matthew 26:1–56. The chorus sings, in the final chorale No. In the early version BWV 244b the chorale No. Some musicologists regard movement 24 as the conclusion of scene 3, the aria "Eilt, ihr angefocht'nen Seelen" which locates the action from the courthouse to Golgotha, the calvary. Voice-leading and instrumental notation altered; Most extensive revision in voice-leading and instrumental notation. Excerpts of the work were performed on the American television program Omnibus on 31 March 1957 in the episode "The Music of J.S. Many of them include the listener into the action, such as the chorale No. 67, Recitative with Chorus "Nun ist der Herr zur Ruh gebracht" (Soprano, Alto, Tenor, Bass, Chorus 2) Otto Klemperer/Philharmonia Choir/Philharmonia Orchestra 試 … "In meines Herzens Grunde" (Within my heart's foundation)[8] is stanza 3 of Valerius Herberger's 1613 hymn "Valet will ich dir geben". After 16 measures of instrumental introduction in 128 time, driven by an ostinato rhythm in the basses, Chorus I intones Kommt, ihr Töchter, helft mir klagen, until in measure 26 they sing Sehet (Hark!) It is surrounded by two choral movements, which not only both ask for the crucifixion of Jesus, but also use the same musical motifs, the second time intensified. 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