J.S. Bach: St. John Passion, BWV 245 / Part Two — No.25 Evangelist, Chorus, Pilatus: " Allda kreuzigten sie ihn " · Anthony Rolfe Johnson · Cornelius Hauptmann · English Baroque Soloists · John Eliot Gardiner · The Monteverdi Choir
Bach, J.S.: St. John Passion
℗ 1986 Deutsche Grammophon GmbH, Berlin
Released on: 1986-01-01
Producer: Dr. Andreas Holschneider
Producer: Charlotte Kriesch
Producer, Recording Producer, Studio Personnel, Balance Engineer: Karl-August Naegler
Studio Personnel, Recording Engineer: Wolf-Dieter Karwatky
Studio Personnel, Recording Engineer: Gregor Zielinsky
Studio Personnel, Editor: Gernot Von Schultzendorff
Composer: Johann Sebastian Bach
Author: Anonymous
Johann Sebastian Bach
St.John Passion BWV 245 (Johannes Passion)
Collegium Vocale Ghent | Philippe Herreweghe
Recorded on Friday 13th March 2020 at the Concertgebouw Bruges.
Julian Prégardien, tenor (evangelist)
Krezimir Strazanac, bass (Christ)
Dorothee Mields, soprano
Alex Potter, countertenor
Reinoud Van Mechelen, tenor
Peter Kooij, bass
Part I
0:00:06 Chorus: Herr unser Herrscher
0:08:33 Recitative Chorus: Jesus ging mit seinen Jüngern
0:10:51 Choral: O große Lieb
0:11:39 Recitative: Auf daß das Wort erfüllet würde
0:12:41 Choral: Dein Will gescheh
0:13:26 Recitative: Die Schar aber und der Oberhauptmann
0:14:09 Aria (Alto): Von den Stricken meiner Sünden
0:18:37 Recitative: Simon Petrus aber folgete Jesu nach
0:18:52 Aria (Soprano): Ich folge dir gleichfalls
0:22:37 Recitative: Derselbige Jünger war dem Hohenpriester bekannt
0:25:28 Choral: Wer hat dich so geschlagen
0:26:52 Recitative Chorus: Und Hannas sandte ihn gebunden
0:28:53 Aria (Tenor): Ach, mein Sinn
0:31:25 Choral: Petrus, der nicht denkt zurück
Part II
0:32:38 Choral: Christus, der uns selig macht
0:33:34 Recitative: Da führeten sie Jesum
0:34:09 Chorus: Wäre dieser nicht ein Übeltäter
0:35:14 Recitative: Da sprach Pilatus zu ihnen
0:35:24 Chorus: Wir dürfen niemand töten
0:36:04 Recitative: Auf daß erfüllet würde das Wort
0:37:42 Choral: Ach großer König
0:39:05 Recitative: Da sprach Pilatus zu ihm
0:40:19 Chorus: Nicht diesen, sondern Barrabam
0:40:29 Recitative: Barrabas aber war ein Mörder
0:40:57 Arioso: Betrachte, meine Seel
0:43:05 Aria (Tenor): Erwäge, wie sein blutgefärbter Rücken
0:51:13 Recitative: Und die Kriegskneckte flochten eine Krone
0:51:33 Chorus: Sei gegrüßet, lieber Judenkönig
0:52:08 Recitative: Und gaben ihm Backenstreiche
0:53:06 Chorus: Kreuzige, kreuzige
0:54:03 Recitative: Pilatus sprach zu ihnen
0:54:20 Chorus: Wir haben ein Gesetz
0:55:35 Recitative: Da Pilatus das Wort hörete
0:56:57 Choral: Durch dein Gefängnis, Gottes Sohn
0:57:49 Recitative: Die Jüden aber schrieen und sprachen
0:57:53 Chorus: Lässest du diesen los
0:59:07 Recitative: Da Pilatus das Wort hörete
0:59:46 Chorus: Weg, weg mit dem
1:00:46 Recitative: Spricht Pilatus zu ihnen
1:00:57 Chorus: Wir haben keinen König
1:01:06 Recitative: Da überantwortete er ihn
1:01:56 Aria (Bass): Eilt, ihr angefochtnen Seelen
1:06:04 Recitative: Allda kreuzigten sie ihn
1:07:16 Chorus: Schreibe nicht: der Jüden König
1:07:49 Recitative: Pilatus antwortet
1:08:07 Choral: In meines Herzens Grunde
1:09:08 Recitative: Die Kriegsknechte aber
1:09:40 Chorus: Lasset uns den nicht zerteilen
1:11:04 Recitative: Auf daß erfüllet würde die Schrift
1:12:44 Choral: Er nahm alles wohl in acht
1:13:48 Recitative: Und von Stund an nahm sie der Jünger
1:15:12 Aria (Alto): Es ist vollbracht
1:19:35 Recitative: Und neiget das Haupt
1:19:55 Aria (Bass): Mein teurer Heiland, laß dich fragen
1:23:50 Recitative: Und siehe da, der Vorhang im Tempel zerriss
1:24:17 Arioso: Mein Herz, in dem die ganze Welt
1:25:07 Aria (Soprano): Zerfließe, mein Herze
1:31:10 Recitative: Die Jüden aber, dieweil es der Rüsttag war
1:33:04 Choral: O hilf, Christe, Gottes Sohn
1:34:03 Recitative: Darnach bat Pilatum Joseph von Arimathia
1:36:08 Chorus: Ruht wohl, ihr heiligen Gebeine
1:43:15 Choral: Ach Herr, laß dei lieb Englein
バッハ受難, 巴赫, 바흐 열정
st john passion baroque music
#Bach #Passion #Herreweghe
James Gaffigan dirige lOrchestre national de France et le Choeur de Radio France dans le Requiem en ré mineur K.626 de Wolfgang Amadeus Mozart, avec la soprano Marita Solberg, la mezzo-soprano Karine Deshayes, le ténor Joseph Kaiser, et la basse Alexander Vinogradov. Concert enregistré le 29 juin 2017 en direct de la basilique de Saint-Denis dans le cadre du Festival de saint-Denis.
#Mozart #MozartRequiem #OrchestreNationalDeFrance
00:00 — Début du concert
01:19 — I. Introïtus
02:00 — Requiem
05:46 — II. Kyrie
08:13 — III. Sequentia. Dies Irae
10:09 — Tuba mirum
13:29 — Rex tremendae
15:31 — Recordare
20:27 — Confutatis
22:49 — Lacrimosa
25:52 — IV. Offertorium Domine Jesu Hostias
32:52 — V. Sanctus
34:30 — VI. Benedictus
38:52 — VII. Agnus Dei
41:45 — VIII. Communio — Lux Aeterna
A propos de l’œuvre:
Mozart croule sous les problèmes quand il entreprend l’écriture de son Requiem en 1791. Accablé par les dettes, le maestro viennois est aussi gravement malade. Pour ajouter à son malheur, sa musique ne séduit plus, la fréquentation de ses concerts diminue.
On ne compte plus les légendes qui entourent le contexte de création de l’œuvre. Mais parmi elles, une vérité se dessine. Le commanditaire de l’œuvre serait le comte von Walsegg, désireux d’obtenir une messe des morts pour célébrer le souvenir de son épouse, tout juste disparue. La demande est faite à Mozart de manière anonyme. Le comte souhaitait en effet se faire passer pour lauteur de l’œuvre, une supercherie dont il était familier!
Épuisé, Mozart s’éteint le 5 décembre 1791 à lâge de 35 ans. S’il a probablement composé entièrement les deux premières parties de l’œuvre, l’Introïtus et le Kyrie, le reste a été repris en main par l’un de ses élèves, Franz-Xaver Süssmayr, à partir d’esquisses plus ou moins détaillées.
Distribution:
Marita Solberg, soprano
Karine Deshayes, mezzo-soprano
Joseph Kaiser, ténor
Alexander Vinogradov, basse
Chœur de Radio France,
Nicolas Fink, chef de chœur
Orchestre National de France,
James Gaffigan, direction
A propos du compositeur Wolfgang Amadeus Mozart (1756 — 1791):
Wolfgang Amadeus Mozart est l’un des compositeurs les plus importants de l’histoire de la musique occidentale, et la figure majeure de la période du classicisme. Il fait partie avec Haydn et Beethoven de la « triade classique viennoise », incarnant l’un des trois maîtres dont l’influence a été la plus considérable sur les générations suivantes de compositeurs. Virtuose du clavecin et du violon, il connaît un succès précoce et une carrière fulgurante, en portant toutes les formes musicales existantes à un état d’accomplissement inégalé.
Come, Ye Sons Of Art, Away. Ode For The Birthday Of Queen Mary II, 1694
* Ouverture
* Come, Ye Sons Of Art, Away
* Sound The Trumpet, Sound
* Come, Ye Sons Of Art
* Strike The Viol, Touch The Lute
* The Day That Such A Blessing Gave
* Bid The Virtues, Bid The Graces
* These Are The Sacred Charmes
* See Nature, Rejoicing
Welcome To All The Pleasures. Ode For St. Cecilias Day, 1683
* Ouverture
* Welcome To All The Pleasures
* Here The Deities Approve / While Joys Celestial
* Then Lift Up Your Voice / The Powr Shall Divert Us A Pleasanter Way
* Beauty, Thou Scene Of Love
* In A Consort Of Voices
Of Old, When Heroes Thought It Base. The Yorkshire Feast Song, 1690
* Symphony
* Of Old, When Heroes Thought It Base / Brigantium, Honourd With A Race Divine
* The Bashful Thames, For Beauty So Renowned
* The Pale And The Purple Rose
* And In Each Track Of Glory Since
* Symphony
* And Now When The Renownd Nassau
* They Did No Stroms, No Threatnings Fear
* So When The Glittring Queen Of Night
* Let Music Join
* Sound, Trumpets, Sound!
* Sound All To Him
The English Concert Choir
The English Concert
Trevor Pinnock
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.
From the Festival d’Ambronay, 2012
Contralto Nathalie Stutzmann conducts violinist Satomi Watanabe and Orfeo 55
Johann Sebastian Bach — Saint Matthew Passion «Ebarme Dich, mein Gott» BWV 244
A coproduction of
Ozango — Le Festival d’Ambronay
with the participation of France Télévisions
in association with M_Media
with the support of Centre National du Cinéma et de limage animée
More than 3,5 hours of the most famous and recognizable classical music recordings.The best of classical music for studying, reading, relaxing and (most of all) enjoying!
Tracklist:
0:00 P.I. Tchaikovsky – Swan Lake, Act II: No.10 Scene (Moderato)
02:42 Edvard Grieg – Morning Mood
06:22 Ludwig van Beethoven – Für Elise (Bagatelle No.25 in A minor)
08:51 Frederic Chopin — Nocturne in C-sharp minor
12:56 Georges Bizet — Habanera («Lamour est un oiseau rebelle»)
14:58 W.A. Mozart — Rondo alla Turca («Turkish March»)
18:33 Ludwig van Beethoven — Moonlight Sonata (The Piano Sonata No. 14 in C♯ minor «Quasi una fantasia», Op. 27, No. 2)
23:47 Antonio Vivaldi – The Four Seasons “Summer” (III: Presto)
26:24 P.I. Tchaikovsky – Dance Of The Sugar Plum Fairy
28:10 Federic Chopin – Prelude Op.28, no.4
30:44 Gioachino Rossini – Overture to “The Barber of Seville”
36:29 Jahannes Brahms – Hungarian Dance no.5 in F-sharp minor (fragment)
37:06 W.A Mozart – Eine kleine Nachtmusik (Serenade No. 13 for strings in G major)
42:54 J.S.Bach – Air on the G string (from Orchestral Suite No.3, BWV 1068)
45:47 W.A. Mozart – Symphony No.40 in G minor (1. Molto allegro)
51:44 Erik Satie – Gymnopedie no.1
54:56 Johann Strauss II – “Frühlingsstimmen”, Op. 410 («Voices of Spring»)
1:01:31 Frederic Chopin – Nocturne in B-flat minor, Op. 9, no.1
1:07:07 P.I. Tchaikovsky – The Nutcracker: Act I, No.4 Russian Dance
1:08:08 J.S.Bach – Orchestral Suite no.2 in B minor (7.Badinerie)
1:09:07 Gioachino Rossini – William Tell Overture
1:14:55 Antonin Dvorak – Symphony no. 9 in E minor («From the New world»: IV. Allegro con fuoco)
1:26:39 P.I. Tchaikovsky – The Nutcracker: Act I, No. 8 Waltz of the Flowers
1:31:47 Richard Wagner – Ride of the Valkyries
1:37:08 Ludwig van Beethoven — Sonata No. 8 in C Minor Pathetique, Op. 13 (II. Adagio cantabile)
1:42:08 Johann Strauss II – «An der schönen blauen Donau» (The Blue Danube),Op.314
1:49:19 Erik Satie – Gnossienne No.1
1:52:42 Edvard Grieg – In the Hall of the Mountain King
1:54:58 Frederic Chopin – Nocturne in E-flat major, Op. 9, No. 2
1:59:30 Antonio Vivaldi – The Four Seasons “Autumn” (1. Allegro)
2:04:30 Franz Liszt – Liebestraume no. 3 in A flat major
2:09:00 W.A. Mozart – Piano Concerto no.21 in C major (II. Movement)
2:13:19 Ludwig van Beethoven – The Symphony No.5 in C minor (fragment)
2:20:10 Claude Debussy – Clair de lune (from «Suite bergamasque»)
2:25:12 N.Rimsky-Korsakov – Flight of the Bumblebee (from “The Tale of Tsar Saltan)
2:26:28 P.I. Tchaikovsky – The Nutcracker: Act I, No. 2 (March)
2:28:25 Edvard Grieg — Notturno, Op.54, No.4
2:32:45 Felix Mendelssohn – Wedding March (from “A Midsumer Night’s Dream”)
2:37:46 Georges Bizet – Prelude to Act 1 for “Carmen”
2:40:02 Antonio Vivaldi – The Four Seasons “Spring” (1.Allegro)
2:43:36 Erik Satie – Gnossienne No.3
2:46:17 Johann Strauss II – Künstlerleben («Artists Life»), op.316
2:49:08 Frederic Chopin – “Revolutionary Etude” (Etude Op.10, No.12)
2:51:51 Luigi Boccherini – Minuet from String Quintet in E, Op. 11, No.5 (G 275)
2:54:00 Ludwig van Beethoven – Ode to Joy (from Symphony no. 9 in D minor)
2:57:53 Richard Strauss – Also sprach Zarathustra
2:59:14 Frederic Chopin – Waltz in D-flat major, Op 64, No 1 («Minute Waltz»)
3:01:00 Tomaso Albinoni — Adagio in G minor (attributed to Tomaso Albinoni, but actually proabably composed by Remo Giazotto).
3:04:29 Modest Mussorgsky – Night on Bald Mountain
3:11:49 Johann Strauss II – “Wiener Blut”, Op. 354
3:13:24 J.S.Bach – Toccata and Fugue in D minor, BWV 565
3:16:29 Jacques Offenbach – Overture to “Orpheus in the Underworld” (can-can section)
3:18:14 Leo Delibes – Pizzicato (from “Sylvia”)
3:20:09 Frederic Chopin – Funeral March (Piano Sonata No.2 in B flat minor Op 35: III. Marche Funebre)
3:29:33 W.A. Mozart – Requiem in D minor
3:33:01 J.S.Bach – Prelude in C major
Every composition from this video exists as a public domain or creative common content.
The fragment of Debussys «Suite bergamasque» performed by Laurens Goedhart.
Liszts «Liebesträume» performed by Martha Goldstein.
Griegs Notturno performed by Mark Gasser.
Piano versions of Mozarts «Requiem in D minor» and Piano «Concerto no.21 in C major» performed by Markus Staab.
Saties «Gnossiennes» performed by La Pianista.
Richard Wagners «Also Sprach Zarathustra» performed by Kevin MacLeod.
The fragments of Vivaldis «Spring», «Summer» and «Autumn» performed by John Harrison.
More public domain and creative commons music you can find on Musopen website.
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