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
The best choral movements from oratorios, cantatas etc. by Johann Sebastian Bach.
01. Christmas oratorio: Jauchzet, frohlocket 00:00
02. Cantata no.21: Ich hatte viel bekümmernis 07:46
03. Cantata no.4: Christ lag in Todesbanden 11:50
04. St John Passion: Herr, unser Herrscher 16:24
05. St John Passion: Ach Herr, lass dein lieb Engelein 27:33
06. Cantata no.80: Ein feste Burg ist unser Gott 30:16
07. Cantata no.80: Das Wort sie sollen lassen stahn 35:10
08. Cantata no.106: Ach, Herr, lehre uns bedenken — Es ist der alte Bund 36:42
09. St Matthew Passion: Kommt, ihr Töchter, helft mir klagen 43:10
10. St Matthew Passion: So ist mein Jesus – Sind Blitze, sind Donner 50:10
11. Cantata no.12: Weinen, Klagen, Sorgen, Zagen 55:40
12. Cantata no.206: Schleicht, spielende Wellen 01:02:04
13. Cantata no.147: Jesus bleibet meine Freude 01:08:24
14. Cantata no.63: Christen, ätzet diesen Tag 01:11:54
15. Cantata no.65: Sie werden aus Saba alle kommen 01:17:25
16. Magnificat: Magnificat 01:20:59
17. Magnificat: Gloria patri 01:23:47
Helmuth Rilling, John Eliot Gardiner, Karl Richter, Philippe Herreweghe etc.
J.S.Bach HARPSICHORD Concerto in D Minor BWV 1052 Polina Osetinskaya piano
The Mariinsky String Orchestra
Conductor: Anton Gakkel www.antongakkel.org/
St.Petersburg, Mariinsky Theatre, Concert Hall 29.03.2015
0:05 — 1mvt / 8:15 — 2mvt / 16:13 — 3mvt
The life of pianist Polina Osetinskaya can be divided into two stages. The first – that of “wunderkind” (a word that Polina herself cannot abide) – was when Polina performed as a girl in huge halls filled with excited sensationalists. The second, which has continued to the present day, is essentially her victory over the first. It is both a reference to serious performing and to exacting audiences.
Polina Osetinskaya began to perform at the age of five. At the age of seven she entered the Central School of Music of the Moscow Conservatoire. Polina gave her first concert at the age of six at the Great Hall of the Vilnius Conservatoire in Lithuania. Together with her father who accepted the role of manager, the young Polina began to undertake frequent tours throughout the former USSR to packed halls and ovations. In her own country Polina was possibly the most famous child of her time and her relationship with her father was portrayed by the mass media as some kind of soap opera after the thirteen-year-old Polina decided to leave her father and study music seriously at the school of the Leningrad Conservatoire under the acclaimed teacher Marina Wolf.
Polina began to tour once again while still a student at the St Petersburg Conservatoire. (The pianist subsequently completed a postgraduate course at the Moscow Conservatoire under Professor Vera Gornostayeva.) She has appeared with the Tokyo Philharmonic Orchestra, the Orchestra of the Weimar National Opera, the Academic Symphony Orchestra of the St Petersburg Philharmonic (Honoured Ensemble of Russia), the State Academic Svetlanov Symphony Orchestra, the Moscow Virtuosi and the New Russia orchestra among other ensembles.
Polina Osetinskaya’s onstage partners have included conductors Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Gerd Albrecht, Yan Pascal Tortelier and Thomas Sanderling. Polina Osetinskaya has performed at the Wallonie Festival in Brussels, the Mainly Mozart festival, the Frédéric Chopin Festival in Miami, the Stars of the White Nights festival and the December Evenings festival among numerous others.
The pianist has been awarded the Maly Triumph prize. In 2008 she wrote her autobiography Farewell, Sadness, which became a bestseller.
Polina Osetinskaya generally creates unusual and frequently paradoxical solo programmes. She almost always includes works by contemporary composers, frequently justaposing them with traditional classical works: “Contemporary music is not just a continuation of older music. It also helps us discover ideas and beauty in older music that have been lost over decades of the blind museum generation and mechanical and often soulless performing.”
Polina Osetinskaya often performs works by post-avant-garde composers such as Valentin Silvestrov, Leonid Desyatnikov, Vladimir Martynov, Georgs Pelēcis and Pavel Karmanov.
The pianist collaborates with many recording companies including Naxos, Sony Music and Bel Air.
#polinaosetinskaya #musicaaldente #полинаосетинская #бах
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.
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St Matthew Passion, BWV 244, Pt. 1: Chorale. «Herzliebster Jesu, was hast du verbrochen» · Nikolaus Harnoncourt · Choir of Kings College, Cambridge · Regensburger Domspatzen
Bach: St Matthew Passion, BWV 244
℗ 1970 TELDEC CLASSICS INTERNATIONAL GMBH
Choir: Choir of Kings College, Cambridge
Orchestra: Concentus Musicus Wien
Conductor: Nikolaus Harnoncourt
Chorus: Regensburger Domspatzen
Composer: Johann Sebastian Bach
Artist: Joanne Lunn
Artist: Wilke te Brummelstroete
Artist: Paul Agnew
Artist: Dietrich Henschel
Choir: Monteverdi Choir
Conductor: John Eliot Gardiner
Ensemble: English Baroque Soloists
Composer: Johann Sebastian Bach
