Posts Tagged ‘ Bach ’

J. S. Bach (1685–1750): Aus der Tiefen rufe ich, Herr, zu Dir BWV 246/40a (De profundis)

0
April 12, 2014

Of the five passions mentioned by Carl Philipp Emanuel Bach and Johann Friedrich Agricola in Johann Sebastian Bach’s obituary notice of 1754 only two have survived the one based on the Gospel According to St. John and the one based on the Gospel According to St. Matthew. There was also a passion based on the Gospel According to St. Mark but only the text of that particular passion has come down to us. So what of the other two? They seem to have vanished without trace but an important point to remember is that the passions Bach presented in Leipzig weren't necessarily always composed by him. He also presented the works of other composers such Reinhard Keiser it's entirely possible that the St. Luke Passion that he presented to the congregation in 1730 and then in 1745 was another composer's work. We also know that the St. Luke Passion published in the 1895  edition of Bach's complete works and listed as BWV 246 is very unlikely to have been composed by Bach. In 1971 writing in the Bach-Jahrbuch the late Yoshitake Kobayashi wrote about an autograph copy by Bach in which he had taken the two-voice setting sung by Peter in the St. Luke passion to the words of the sixth verse of the chorale and refashioned the chorale melody to make it conform to the expanded form in use in his parish. This expansion is the basis of the expanded this chorale setting  you can hear below scored for tenor and five strings, including two violas. A curiosity? Certainly, but one that will amply repay the very small amount of time it takes to listen to.

markfromireland

Click here to listen to the music and read the rest of the posting ...

J. S. Bach (1685–1750): Christe eleison in G minor BWV 242

0
March 24, 2014

The Christe BWV 242 by another composer printed in this volume with the outer movements of the Kyrie from the Missa in C minor BWV Anh. [ Appendix] 26 has come down to us in Bach’s own handwriting. The short autograph is an integral part of the copy which Bach made of the anonymous Missa ... Since original sources or other reliable manuscripts of the Missa are lacking, it also remains questionable whether Bach wanted to use the Christe in G minor to complete a setting which may originally have been played by the organ and was therefore lacking, or to replace the existing Christe with his own composition”, writes Marianne Helms in the critical apparatus to volume II/2 of the NBA (p. 164ff.), in which the Lutheran Masses were published along with single movements from other Masses. The two Kyrie settings, which comprise 54 and 33 measures, respectively, call for strings, trombones and basso continuo; the 25-bar “Christe di Bach” (as it is called in the autograph) in 12/16 time demands merely soprano and alto soloists and basso continuo. The copy of the Mass, consisting of Kyrie and Gloria, was made between October 17, 1727 and November 2, 1731. Hans-Joachim Schulze has since been able to prove that the Mass in C minor, in which Bach inserted the Christe eleison, was composed by Francesco Durante (1684 - 1755). The Kyrie I in Bach’s copy adheres to the original, while the Kyrie II following the Christe reproduces the beginning of the Gloria in Durante’s composition. Whether Bach wrote the piece for the purposes of performance remains unknown.

Click here to listen to the music and read the rest of the posting ...

J. S. Bach (1685–1750): O Jesu Christ, meins Lebens Licht BWV 118

2
March 21, 2014

Bach decal 175x175 Caption Colour I wrote about this motet back on September 30th 2012 as the introductory posting to my series Johann Sebas­tian Bach: The Motets. It's one that I love so much that I can't resist posting it again in part because it's all too often ignored in discussions about Bach's sacred music. It's always puzzled me that a piece of music as lovely as this is so often overlooked. Bach wrote it most likely in 1736 for the funeral procession of for the funeral of Christian Weiss the pastor of St. Thomas, and rescored it ten years later in a somewhat more restrained version for indoor use. Its melody comes from a hymnal printed in Leipzig in 1625 and Bach isn't the only composer to recognise its merits – Mendelssohn also used it in his oratorio St Paul.

markfromireland

Click here to listen to the music and read the rest of the posting ...

Second Sunday in Advent 2013: J. S. Bach: Wachet! betet! betet! wachet! (BWV 70a) (Rilling) – YouTube

0
December 8, 2013

J. S. Bach: Wachet! betet! betet! wachet! (BWV 70a)
Cantata for the Second Sunday of Advent (12.6.1716)
This Weimar cantata was reworked and expanded in Leipzig as BWV 70 for the 26th Sunday after Trinity. The original has been lost. The version heard here simply omits the additions from the later version.

Click here to listen to the music and read the rest of the posting ...

Sunday Concert: Bach – Goldberg Variations, BWV 988 (for string ensemble) – YouTube

0
November 24, 2013

Transcription for Strings by Dmitry Sitkovetsky / NES Chamber Orchestra

Enjoy :-).

markfromireland

Click here to listen to the music and read the rest of the posting ...

Forthcoming Posts

  • Orlando Gibbons (1583-1625): ‘Drop, drop, slow tears’
  • 6th Sunday of Lent 2014: Joseph Haydn (1732-1809) The Seven Last Words of our Saviour on the Cross Op 51

Archives

Special Pages