Composer: Johann Sebastian Bach
Artists: Emmy Verhey (violin), Camerata Antonio Luco, Rainer Kussmaul (violin), Henk Rubingh (violin), Thomas Hengelbrock (violin), Amsterdam Bach (Soloists)
Available as a separate release: all concertos for 1 violin by Bach. They are BWV 1041 and 1042: the well-known concertos. BWV1052, 1056 and 1064 are reconstructions. The latter one being for three violins. Soloists are among others Emmy Verhey and Rainer Kussmaul.
Tracklist:
Violin Concerto in A Minor, BWV 1041:
00:00:00 I. Allegro
00:03:52 II. Adagio
00:10:23 III. Allegro
Violin Concerto in E Major, BWV 1042:
00:14:22 I. Allegro
00:22:05 II. Adagio
00:28:47 III. Allegro assai
Violin Concerto in D Minor, BWV 1052:
00:31:42 I. Allegro
00:39:20 II. Largo
00:46:22 III. Presto
Violin Concerto in G Minor, BWV 1056:
00:54:14 I. Allegro
00:57:37 II. Andante
01:00:52 III. Allegro assai
St Matthew Passion — Matthäus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)
The St Matthew Passion, (also frequently St Matthews Passion) BWV 244, (German: Matthäus-Passion), is a sacred oratorio from the Passions written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to «The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew.»
Although Bach wrote four (or five) settings of the Passions only two have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday (11 April) 1727[1] in the Thomaskirche in Leipzig, where Bach was the Kantor of the School and Directoris Chori musici of Leipzig. He revised it by 1736, performing it again on 30 March 1736, this time including two organs in the instrumentation. He further revised and performed it again on 24 March 1742. Possibly due to the second organ being under repair, he switched the continuo instrument to harpsichord in Coro II, reinforced the continuo group in Coro II with a viola da gamba, and inserted a ripieno soprano in both movements 1 and 29. There is evidence of a further revision in 1743--1746, when the score as we know it originated, but no performance.
Die Matthäus-Passion, BWV 244, ist eine oratorische Passion von Johann Sebastian Bach. Der Bericht vom Leiden und Sterben Jesu Christi nach dem Evangelium nach Matthäus bildet das Rückgrat. Ergänzt wird er um eingestreute Passionschoräle und erbauliche Dichtungen von Picander in freien Chören und Arien. Die Matthäus-Passion und die Johannes-Passion sind die beiden einzigen vollständig erhaltenen authentischen Passionswerke von Bach. Mit etwa 200 Minuten Aufführungsdauer und einer Besetzung von Solisten, zwei Chören und zwei Orchestern ist die Matthäus-Passion Bachs umfangreichstes und am stärksten besetztes Werk und stellt einen Höhepunkt protestantischer Kirchenmusik dar. Die Uraufführung fand am 11. April 1727 in der Thomaskirche in Leipzig statt. Nach Bachs Tod geriet das Werk in Vergessenheit. Die Wiederaufführung in einer gekürzten Version unter Felix Mendelssohn Bartholdy im Jahr 1829 leitete die Bach-Renaissance ein.
Passio secundum Matthaeum est longissimum oratorium a Iohanne Sebastiano Bach (BWV 244) compositum.
Texus musica est apud Evangelium secundum Matthaeum quod Ultima Cena et Crucifixio Iesu tractantur.
Pasión según san Mateo, Matthäus-Passion (J. S. Bach), Pasja według św. Mateusza, Матеус пасион, Passió segons sant Mateu, Matoušovy pašije, Κατά Ματθαίον Πάθη (Μπαχ), Matthäuspassion (Bach), Matthäus-Passion, Matteus-passio (Bach), Passione secondo Matteo, マタイ受難曲, 마태오 수난곡 (바흐), Passio secundum Matthaeum (Bach), Matthäus-Passion (J.S. Bach), Matteuspasjonen (Bach), Matteuspasjonen av Bach, Страсти по Матфею (Бах), Matteuspassionen,
1727
J. S. Bach
Cantatas:
BWV 167 [18:14]
BWV 7 [22:26]
BWV 30 [32:42]
Soprano: Joanne Lunn
Mezzo-soprano: Wilke te Brummelstroete
Tenor: Paul Agnew
Bass: Dietrich Henschel
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner
Recordings from the Bach Cantata Pilgrimage: at St. Giles Cripplegate, London, England.
Volume 1 — CD 1
‘Erbarme dich, mein Gott’ from St Matthew Passion (BWV 244) by J.S. Bach.
Performed by the Netherlands Bach Society conducted by Jos van Veldhoven.
Soloists: Tim Mead (Alto), Shunske Sato (violin)
The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc.
At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day.
The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words.
Watch the complete St Matthew Passion and read the full story at www.bachvereniging.nl/en/bwv/bwv-244/
Composer: Johann Sebastian Bach
Artist: Yuan Sheng (piano)
This recording of the complete 6 Partitas is a marvel of elegance, wit, rhetoric and brilliance, played on a modern Steinway.
“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer). Besides pursuing an international career Yuan Sheng is Professor of Piano at the Bejing Central Conservatory of Music.
Partita No. 1 in B-Flat Major, BWV 825:
00:00:00 I. Praeludium
00:01:43 II. Allemande
00:05:37 III. Corrente
00:08:35 IV. Sarabande
00:14:10 V. Menuet I
1. 0:06 Op. 9, No. 1 in B flat minor. Larghetto
2. 5:53 Op. 9, No. 2 in E flat major. Andante
3. 10:29 Op. 9, No. 3 in B major. Allegretto
4. 17:09 Op. 15, No. 1 in F major. Andante cantabile
5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto
6. 25:43 Op. 15, No. 3 in G minor. Lento
7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto
8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto
9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto
10. 47:27 Op. 32, No. 2 in A flat major. Lento
11. 53:01 Op. 37, No. 1 in G minor. Lento
12. 59:51 Op. 37, No. 2 in G major. Andante
13. 1:06:17 Op. 48, No. 1 in C minor. Lento
14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino
15. 1:20:11 Op. 55, No. 1 in F minor. Andante
16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto
17. 1:31:19 Op. 62, No. 1 in B major. Andante
18. 1:38:51 Op. 62, No. 2 in E major. Lento
19. 1:45:11 Op. 72, No. 1 in E minor. Andante
20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione
21. 1:53:18 Op. posth in C minor. Andante sostenuto
Марта работает психологом в престижном колледже. Жизнь Марты размерена: успешная карьера, симпатичный жених, Тимур, начинающий писатель, и мечты о семье. После занятий к Марте, с неожиданной просьбой, обращается ее студентка Юля, она сообщает, что беременна и хочет сделать аборт. Юле всего 17 лет и по закону требуется сопровождение взрослого. Мать Юли умерла пару лет назад, а отцу она боится рассказать. Марта, помня об ошибках своей юности, решает рассказать обо всем отцу Юли – состоятельному бизнесмену Ивану.
