Yes, Handel wrote a couple of Passions. They are early works. One of them is a St John Passion. It is quite a good work, but not enough for the chorus, I think.
Then there is the Brockes Passion. Brockes is the person who wrote the libretto based on John's gospel, and it was used by several composers. The Bach St John Passion uses the Brockes text.
The Handel Brockes Passion still does not have quite enough for the chorus ( I think), but the choral writing is very good. The are choruses that sound distinctively like Handel - the opening chorus is a great piece. The work is different from Bach - Handel gets Jesus to sing a duet with his mother. It is interesting to see the way Handel sets the Weg, weg chorus.
This Brockes Passion will be performed in Auckland (first ever NZ performance) at Pitt St Methodist Church on April 10.
Bach knew the Handel work, and there is a version in Bach's handwriting.
Handel re-used some of the music in Oratorios which he wrote in England - Deborah and Esther..
Wednesday, March 31, 2010
Tuesday, March 30, 2010
Cantique de Jean Racine
City of Dunedin Choir's next concert features Cantique de Jean Racine by Fauré.
Gabriel Urbain Fauré (12 May 1845 – 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught.
Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic.
Here is an Engish translation of the Cantique de Jean Racine:
To our very high Lord our only hope
This eternal day of the earth and of the night
Saviour we are breaking the divine silence
Saviour direct your divine sight on us
Spread on us the fire of your powerful grace,
so that all evil disappears at the sound of your voice.
God wakes up the languished soul from his sleep
Christ be kind to your people
Receive their songs as a gift to your immortal glory
And the people shall receive peace in return.
Read more about Fauré...
Here is a learning track for the alto part (sung by a guy), useful for practicing purposes:
and here's one for the tenor voice:
Gabriel Urbain Fauré (12 May 1845 – 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught.
Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic.
Here is an Engish translation of the Cantique de Jean Racine:
To our very high Lord our only hope
This eternal day of the earth and of the night
Saviour we are breaking the divine silence
Saviour direct your divine sight on us
Spread on us the fire of your powerful grace,
so that all evil disappears at the sound of your voice.
God wakes up the languished soul from his sleep
Christ be kind to your people
Receive their songs as a gift to your immortal glory
And the people shall receive peace in return.
Read more about Fauré...
Here is a learning track for the alto part (sung by a guy), useful for practicing purposes:
and here's one for the tenor voice:
Monday, March 29, 2010
Ten facts you may not know about Bach
Ten Facts You May Not Know About Bach
1. Bach was left-handed.
2. Bach was a convicted criminal. At one point in his life, he spent nearly a month in jail (November 6th to December 2nd, 1717). Rumour has it that this was punishment for writing "Where Sheep May Safely Graze".
3. Bach was a noted sprinter in his home town of Thüringen, and won medals at the hundred and two hundred yard dash. His time of 12.2 seconds for the hundred yard dash was not beaten for over fifty years.
4. Not only was Bach a keen sprinter, he was also an expert swordsman and sharpshooter. His legendary refusal to fight anyone unless he could be brought down to a more average level of ability by fighting right-handed is believed to be the inspiration for a similar scene in the cult movie The Princess Bride, in which Bach is believed to have been the model for the Dread Pirate Roberts.
5. History writes that Bach was born in Germany, but modern investigators are beginning to question whether in fact he was born in Sweden, due to the uncanny similarity between some of his music and that of Abba.
6. Bach married twice. The first to his cousin, Maria, the second marriage was to Anna Magdalena Wülkens. However, it is now believed that he also had relations with and fathered children of a local bar maid called Helga Schümaker, who bore him an unknown number of children.
7. Bach was a well-known and respected organist, and developed many advances in organ technology. These included the Schlicken-grüber, which enabled performance on three keyboards at the same time without a loss of hot air; and the undeservedly much maligned thirteen foot stop, known as the Pitten-Stüppend.
8. Bach fathered more than a score of children, and has many descendants who are alive today, and who are famous in their own artistic fields. They include Catherine Bach (actress), Richard Bach (writer), Australian children's performer Paul Paddick, and Engelbert Humperdinck (performer).
9. Bach went blind. The cause is reputed to have been nocturnal activities by candlelight that were banned by his father.
10. Bach was lost at sea, and his time and place of death remains uncertain. Legend has it he left the Port of Bremerhaven for a three hour tour, and never returned. His six companions, who included a notable millionaire, a professor, and a movie star were not recovered either.
NOTE: The above article may not be entirely accurate.
1. Bach was left-handed.
2. Bach was a convicted criminal. At one point in his life, he spent nearly a month in jail (November 6th to December 2nd, 1717). Rumour has it that this was punishment for writing "Where Sheep May Safely Graze".
3. Bach was a noted sprinter in his home town of Thüringen, and won medals at the hundred and two hundred yard dash. His time of 12.2 seconds for the hundred yard dash was not beaten for over fifty years.
4. Not only was Bach a keen sprinter, he was also an expert swordsman and sharpshooter. His legendary refusal to fight anyone unless he could be brought down to a more average level of ability by fighting right-handed is believed to be the inspiration for a similar scene in the cult movie The Princess Bride, in which Bach is believed to have been the model for the Dread Pirate Roberts.
5. History writes that Bach was born in Germany, but modern investigators are beginning to question whether in fact he was born in Sweden, due to the uncanny similarity between some of his music and that of Abba.
6. Bach married twice. The first to his cousin, Maria, the second marriage was to Anna Magdalena Wülkens. However, it is now believed that he also had relations with and fathered children of a local bar maid called Helga Schümaker, who bore him an unknown number of children.
7. Bach was a well-known and respected organist, and developed many advances in organ technology. These included the Schlicken-grüber, which enabled performance on three keyboards at the same time without a loss of hot air; and the undeservedly much maligned thirteen foot stop, known as the Pitten-Stüppend.
8. Bach fathered more than a score of children, and has many descendants who are alive today, and who are famous in their own artistic fields. They include Catherine Bach (actress), Richard Bach (writer), Australian children's performer Paul Paddick, and Engelbert Humperdinck (performer).
9. Bach went blind. The cause is reputed to have been nocturnal activities by candlelight that were banned by his father.
10. Bach was lost at sea, and his time and place of death remains uncertain. Legend has it he left the Port of Bremerhaven for a three hour tour, and never returned. His six companions, who included a notable millionaire, a professor, and a movie star were not recovered either.
NOTE: The above article may not be entirely accurate.
I'll be Bach...
I said I'd never do it, but I just know you're all shivering with antici..........pation, waiting for a review of our concert from YES! THAT soprano!
I could make you wait a little more, giving you nothing to read but some staid, official-type review from someone who knows what they're actually talking about. Like an ODT reviewer.
But no, you've got me. Besides, it's far more fun to write about a concert when it is still fresh in your head.
Bach fancied himself a bit of a superstar of music. He commonly wore sunglasses so he wouldn't be recognised.
Why do one Passion, when you can have two at twice the price?
Of course, nothing in my life is done by halves. By the time I was in the singular green room toilet, changing into my City Choir uniform and realising I'd forgotten my black folder, I'd already done one Passion - with St. Pauls' Cathedral Choir for the morning service.
You should have been there. If you weren't, book in Palm Sunday for next year at St. Pauls. It happens to fall on - yep, you guessed it, Palm Sunday.
But I digress.
Ok, where was I? In the toilet, getting in to my uniform, and realising I'd forgotten my black folder.
OK, Lindsay saved me - she brought spare black folders. My butt was saved, this time around.
Time for the Killer Potato From Mars (übeltaters)
But I knew nothing was going to save me from the Dreaded Übeltater of Doom (best served mashed with gravy). Nothing - except the fact that the whole choir was bloody marvellous.
The Übeltaters were roasted. With rosemary. The chorus ("Wäre dieser nicht ein Übeltäter") was one of the finest moments of the entire performance.
City Choir does Bach, is triumphant...and Bach goes home with his tail between his legs, vowing to never again write another Da Capo!
Let's face it. We were all a bit nervous. Or a LOT nervous.
We were all on the edges of our seats for some movements. (Except that we were standing, actually.)
We were all worried that we were going to be that one NONG who came in shouting "HERR!" at the top of our voices in the rest, guaranteeing us eternal Stupid Status in City Choir legend.
Or that maybe we'd come in on the wrong note, loudly and flatly, and put off everone around us, earning us Curses Of Doom and Evil Eyes from our neighbouring choristers, forever and ever, amen.
The secrets of the sections...
We sopranos were cursing the complete idiot typesetter who thought that putting an exposed High A entry after a page turn in the first movement was a brilliant idea.
The altos were not letting on about their best and brightest of Alto Trade Secrets - when in doubt, and you don't know your note, sing a G. Nobody will be any the wiser.
Except this time around, the altos didn't have to - they were so hot and on form, that the single men in the audience (so I am told) couldn't look anywhere else. (Except to the stunning sopranos!)
The tenors were wearing their very tightest of underpants (so I am told) to give them the extra "support" they needed for those very high notes.
And the basses, well...what can I say. They looked sexy and they sang better than sexy. If I weren't married... ;-) (Please don't let my husband read this, or I will be sleeping on our not-so-comfortable sofa once more.)
What, me worry?
We were all worried about those horrible, horrible "Wohins", which convince me more than ever that Bach was a complete rotter.
We were all worried that those nasty fugue-ey things would fall apart, and that David would be stuck out front, trying to pick up the pieces while attempting to maintain a professional mien.
And we were wondering if David was actually going to fall off the stage and break his leg, as he was grooving so much in certain movements of the work. (For those readers who were not there - no, he miraculously survived unharmed, and lives to fight another day.)
We were concerned (well, I was anyway) that we'd go out of time and tune with the orchestra, but we didn't. We rocked. We boogied. We were so chilled out that the only problem anyone had was a case of sore toes.
Awesome soloists, both outside and inside the choir
The soloists were wonderful. They were all good, but I don't think the others would hold me up and hit me with a big whacky stick if I name Chris Bruerton as the standout. His voice is something I'd like to snuggle up to late at night, with a good glass of wine (uh oh...did I just write that? I really AM going to be in trouble with my husband!)
And from within the choir, both Peggy Tompkins and Michael Dawson did wonderful small solos to complement the beautifully-dressed (and paid) professionals.
This made me realise yet again that the difference between professionals and top notch amateurs is not very great at all. Hearing Peggy and Michael sing - as well as the choir as a whole - made me intensely proud of my fellow choristers.
I love to sing!
Which is what it is all about really.
Now I'm no fan of Bach, as anyone who knows me will testify. But yesterday afternoon's concert was an incredible example of City Choir at our best.
Some people say Bach wasn't actually human, but was an envoy from the Dalek race. I concur with this view. But the St. John Passion was still a good fun sing yersterday.
Apart from aching feet, I really enjoyed myself up on stage, singing with a large group of choristers I am proud to call my friends.
We sing because we love music, and no matter whether what we sing is to our taste or not, every concert is a learning experience, and an experience to be treasured.
Bach's St. John Passion proved once again that City Choir is capable of putting on concerts of an international standard.
I think every member of our audience would have thoroughly enjoyed the concert, and our comittee and choir should absolutely be proud that we have done justice to such a huge and challenging work.
Thanks again to our Penguin-In-Chief, David, without whom our choir would be a shadow of what it has come to be. And I know that I, for one, am really looking forward to our next concert.
This concludes my "review" (if you can call it that) of our concert of St. John Passion. Well, almost. I've one more thing to say.
We rocked Bach's pants off. I bet his wee ghostie was up there in the Gods, watching us, and tapping his pointy-shoed toes. Sucks to you, Bach - we kicked your number from here to eternity.
Bach's response to City Choir - "I'll be Bach..."
As to our next concert, Bring it on!
I could make you wait a little more, giving you nothing to read but some staid, official-type review from someone who knows what they're actually talking about. Like an ODT reviewer.
But no, you've got me. Besides, it's far more fun to write about a concert when it is still fresh in your head.
Why do one Passion, when you can have two at twice the price?
Of course, nothing in my life is done by halves. By the time I was in the singular green room toilet, changing into my City Choir uniform and realising I'd forgotten my black folder, I'd already done one Passion - with St. Pauls' Cathedral Choir for the morning service.
You should have been there. If you weren't, book in Palm Sunday for next year at St. Pauls. It happens to fall on - yep, you guessed it, Palm Sunday.
But I digress.
Ok, where was I? In the toilet, getting in to my uniform, and realising I'd forgotten my black folder.
OK, Lindsay saved me - she brought spare black folders. My butt was saved, this time around.
Time for the Killer Potato From Mars (übeltaters)
But I knew nothing was going to save me from the Dreaded Übeltater of Doom (best served mashed with gravy). Nothing - except the fact that the whole choir was bloody marvellous.
The Übeltaters were roasted. With rosemary. The chorus ("Wäre dieser nicht ein Übeltäter") was one of the finest moments of the entire performance.
City Choir does Bach, is triumphant...and Bach goes home with his tail between his legs, vowing to never again write another Da Capo!
Let's face it. We were all a bit nervous. Or a LOT nervous.
We were all on the edges of our seats for some movements. (Except that we were standing, actually.)
We were all worried that we were going to be that one NONG who came in shouting "HERR!" at the top of our voices in the rest, guaranteeing us eternal Stupid Status in City Choir legend.
Or that maybe we'd come in on the wrong note, loudly and flatly, and put off everone around us, earning us Curses Of Doom and Evil Eyes from our neighbouring choristers, forever and ever, amen.
The secrets of the sections...
We sopranos were cursing the complete idiot typesetter who thought that putting an exposed High A entry after a page turn in the first movement was a brilliant idea.
The altos were not letting on about their best and brightest of Alto Trade Secrets - when in doubt, and you don't know your note, sing a G. Nobody will be any the wiser.
Except this time around, the altos didn't have to - they were so hot and on form, that the single men in the audience (so I am told) couldn't look anywhere else. (Except to the stunning sopranos!)
The tenors were wearing their very tightest of underpants (so I am told) to give them the extra "support" they needed for those very high notes.
And the basses, well...what can I say. They looked sexy and they sang better than sexy. If I weren't married... ;-) (Please don't let my husband read this, or I will be sleeping on our not-so-comfortable sofa once more.)
What, me worry?
We were all worried about those horrible, horrible "Wohins", which convince me more than ever that Bach was a complete rotter.
We were all worried that those nasty fugue-ey things would fall apart, and that David would be stuck out front, trying to pick up the pieces while attempting to maintain a professional mien.
And we were wondering if David was actually going to fall off the stage and break his leg, as he was grooving so much in certain movements of the work. (For those readers who were not there - no, he miraculously survived unharmed, and lives to fight another day.)
We were concerned (well, I was anyway) that we'd go out of time and tune with the orchestra, but we didn't. We rocked. We boogied. We were so chilled out that the only problem anyone had was a case of sore toes.
Awesome soloists, both outside and inside the choir
The soloists were wonderful. They were all good, but I don't think the others would hold me up and hit me with a big whacky stick if I name Chris Bruerton as the standout. His voice is something I'd like to snuggle up to late at night, with a good glass of wine (uh oh...did I just write that? I really AM going to be in trouble with my husband!)
And from within the choir, both Peggy Tompkins and Michael Dawson did wonderful small solos to complement the beautifully-dressed (and paid) professionals.
This made me realise yet again that the difference between professionals and top notch amateurs is not very great at all. Hearing Peggy and Michael sing - as well as the choir as a whole - made me intensely proud of my fellow choristers.
I love to sing!
Which is what it is all about really.
Now I'm no fan of Bach, as anyone who knows me will testify. But yesterday afternoon's concert was an incredible example of City Choir at our best.
Apart from aching feet, I really enjoyed myself up on stage, singing with a large group of choristers I am proud to call my friends.
We sing because we love music, and no matter whether what we sing is to our taste or not, every concert is a learning experience, and an experience to be treasured.
Bach's St. John Passion proved once again that City Choir is capable of putting on concerts of an international standard.
I think every member of our audience would have thoroughly enjoyed the concert, and our comittee and choir should absolutely be proud that we have done justice to such a huge and challenging work.
Thanks again to our Penguin-In-Chief, David, without whom our choir would be a shadow of what it has come to be. And I know that I, for one, am really looking forward to our next concert.
This concludes my "review" (if you can call it that) of our concert of St. John Passion. Well, almost. I've one more thing to say.
We rocked Bach's pants off. I bet his wee ghostie was up there in the Gods, watching us, and tapping his pointy-shoed toes. Sucks to you, Bach - we kicked your number from here to eternity.
As to our next concert, Bring it on!
Sunday, March 28, 2010
Fundraising ceramic pendants
Presenting concerts of the choral masterpieces on a grand scale like this year's St John Passion is a financial challenge for any choir. City of Dunedin Choir spends many voluntary hours fundraising. Here's another opportunity to help the Choir bring great music to audiences in Dunedin.
Click the thumbnail pictures below to see a larger version with detail of these beautiful ceramic pendants that are for sale. The pendants are lovingly crafted by M Couper of Queenstown. Choir members will be given direct contact details of the fund-raising organiser, Natalie Baylis.
Members of the public please submit your orders directly to the Choir administration. Preferably send an email to info at cityofdunedinchoir.org.nz so that your order can be forwarded to Natalie. She will contact you to make arrangements for payment and delivery.
The pendants come in black, green and two shades of red. Each pendant is unique, so it will be first come first served! To avoid disappointment, please specify a first and second choice when you order.
The cost is $20.00 NZD per pendant.
Black cords with clasp cost $5.00 NZD and are available in the following lengths:
Short - approx 45 cm
Medium - approx 55 cm
Long - approx 59 cm
Extra Long - approx 72 cm
Click the thumbnail pictures below to see a larger version with detail of these beautiful ceramic pendants that are for sale. The pendants are lovingly crafted by M Couper of Queenstown. Choir members will be given direct contact details of the fund-raising organiser, Natalie Baylis.
Members of the public please submit your orders directly to the Choir administration. Preferably send an email to info at cityofdunedinchoir.org.nz so that your order can be forwarded to Natalie. She will contact you to make arrangements for payment and delivery.
The pendants come in black, green and two shades of red. Each pendant is unique, so it will be first come first served! To avoid disappointment, please specify a first and second choice when you order.
The cost is $20.00 NZD per pendant.
Black cords with clasp cost $5.00 NZD and are available in the following lengths:
Short - approx 45 cm
Medium - approx 55 cm
Long - approx 59 cm
Extra Long - approx 72 cm
St John Today
After two days of a crewel work stitching class, taught by an Australian tutor held in the Dunedin Public Art Gallery , I crept in to the back of the Town Hall and stood spellbound for 40 minutes. I have never in 34 years been on the other side of the black music folder.
I was able to hear from the tenor aria near the beginning of the second half, until Claire had sung her "it is finished" aria. Not long enough - I wanted to hear it all.
First - you looked magnificent. The organ had red back lighting and you (the choir) and the orchestra dressed in black and white, ranged across the stage looked so professional. World class in my eyes.
I stood, unable to move for several chorales, the "kreutzigas", the "casting lots for the clothes" and Howard and Claire's "it is finished'. I thought you sang with all your heart and soul and I could hear that in the music. I wanted to join in and yet it was incredible to hear the music we practiced week after week, with all the familiar faces actually "on stage". I was totally overcome and you all became quite blurred for a time.
I have no idea what the review will say, but - Wow - you were great. Dunedin doesn't realise how lucky it is having "us". And we are so lucky to be able to sing fantastic music. I am so privileged to have been on the score side of the black folders.
I do have something to look forward to - and that is, when I am finally not able to sing in the choir I will be able to listen to you.
I was able to hear from the tenor aria near the beginning of the second half, until Claire had sung her "it is finished" aria. Not long enough - I wanted to hear it all.
First - you looked magnificent. The organ had red back lighting and you (the choir) and the orchestra dressed in black and white, ranged across the stage looked so professional. World class in my eyes.
I stood, unable to move for several chorales, the "kreutzigas", the "casting lots for the clothes" and Howard and Claire's "it is finished'. I thought you sang with all your heart and soul and I could hear that in the music. I wanted to join in and yet it was incredible to hear the music we practiced week after week, with all the familiar faces actually "on stage". I was totally overcome and you all became quite blurred for a time.
I have no idea what the review will say, but - Wow - you were great. Dunedin doesn't realise how lucky it is having "us". And we are so lucky to be able to sing fantastic music. I am so privileged to have been on the score side of the black folders.
I do have something to look forward to - and that is, when I am finally not able to sing in the choir I will be able to listen to you.
Friday, March 26, 2010
Have you got yours?
Have you got your ticket to this awesome concert on Sunday? Don't miss it! Rush down to TicketDirect at the Regent and get your tickets now!
Tenor Paul McMahon, singing the role of the Evangelist, is highly regarded in Australia for his interpretation of the baroque repertoire. Lois Johnston, soprano, and Claire Barton, alto, are well known and admired by Dunedin concert goers. Oliver Sewell (tenor), Chris Bruerton (bass) and Howard Harvey (in the role of Christ), accomplished soloists from Christchurch, will contribute to the experience of this contemplative work.
Tickets are on sale now!
Sunday 28 March, 3:00 pm, Dunedin Town Hall
The City of Dunedin Choir, supported by the Southern Sinfonia and conducted by David Burchell, presents Bach's Easter story, the St John Passion. This dramatic and powerful oratorio provides a focus for the celebration at Easter.Tenor Paul McMahon, singing the role of the Evangelist, is highly regarded in Australia for his interpretation of the baroque repertoire. Lois Johnston, soprano, and Claire Barton, alto, are well known and admired by Dunedin concert goers. Oliver Sewell (tenor), Chris Bruerton (bass) and Howard Harvey (in the role of Christ), accomplished soloists from Christchurch, will contribute to the experience of this contemplative work.
Tickets are on sale now!
Monday, March 22, 2010
Beautiful chorus
The final chorus and chorale from St John Passion are of the most beautiful movements Bach ever composed.
Johann Sebastian Bach (1685 - 1750):
RUHT WOHL, IHR HEILIGEN GEBEINE
The handwriting is by Johann Nathanael Bammler, who was prefect in the Thomanerchor Leipzig and an assistant to Bach in the late 1740s.
The St. John Passion was composed in the beginning of 1724 and had its first performance on Good Friday the same year (April 7). The original score by Bach is now lost. In the late 1730s, Bach began writing a new fair copy of the score. But he broke off his writing in the middle of the 10th movement (the recitative "Derselbige Jünger"). It is known that a planned passion performance in 1739 was cancelled by the church authorities in Leipzig, because Bach had not in due time seeked their approval of the passion text. Possibly this incident explains why he did not complete the score at that time. In 1749, in connection with a new performance of the St. John Passion, the score was finally completed by Bammler. Bach then reviewed the score and corrected various mistakes.
Ruht wohl, ihr heiligen Gebeine,
Die ich nun weiter nicht beweine,
Ruht wohl und bringt auch mich zur Ruh!
Das Grab, so euch bestimmet ist
Und ferner keine Not umschließt,
Macht mir den Himmel auf und schließt die Hölle zu.
Ach Herr, laß dein lieb' Engelein
Am letzten End die Seele mein
In Abrahams Schoß tragen,
Den Leib in seim Schlafkämmerlein
Gar sanft ohn ein'ge Qual und Pein
Ruh'n bis am jüngsten Tage!
Alsdenn vom Tod erwecke mich,
Daß meine Augen sehen dich
In aller Freud, o Gottes Sohn,
Mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
Ich will dich preisen ewiglich!
Translation:
Rest well, ye holy bones and members,
Which I henceforth shall never weep for,
Rest well and bring me, too, to rest!
The tomb which for you is assigned,
And henceforth no distress will hold,
Doth open heav'n to me and shut the gates of hell.
Ah Lord, let thine own angels dear
At my last hour my spirit bear
To Abraham's own bosom,
My body in its simple bed
In peace without distress and dread
Rest till the day of judgment!
And then from death awaken me,
That with mine eyes I may see thee
In fullest joy, O God's own Son,
My Savior and my gracious throne!
Lord Jesus Christ, give ear to me,
I would thee praise eternally!
The autograph score by Bammler can be found here (Satz 39 & 40):
http://vmbach.rz.uni-leipzig.de:8971/...
The Monteverdi Choir
The English Baroque Soloists
Conducted by John Eliot Gardiner
Don't miss the performance by City of Dunedin Choir in the Dunedin Town Hall on Sunday 28 March at 3 pm.
Johann Sebastian Bach (1685 - 1750):
RUHT WOHL, IHR HEILIGEN GEBEINE
The handwriting is by Johann Nathanael Bammler, who was prefect in the Thomanerchor Leipzig and an assistant to Bach in the late 1740s.
The St. John Passion was composed in the beginning of 1724 and had its first performance on Good Friday the same year (April 7). The original score by Bach is now lost. In the late 1730s, Bach began writing a new fair copy of the score. But he broke off his writing in the middle of the 10th movement (the recitative "Derselbige Jünger"). It is known that a planned passion performance in 1739 was cancelled by the church authorities in Leipzig, because Bach had not in due time seeked their approval of the passion text. Possibly this incident explains why he did not complete the score at that time. In 1749, in connection with a new performance of the St. John Passion, the score was finally completed by Bammler. Bach then reviewed the score and corrected various mistakes.
Ruht wohl, ihr heiligen Gebeine,
Die ich nun weiter nicht beweine,
Ruht wohl und bringt auch mich zur Ruh!
Das Grab, so euch bestimmet ist
Und ferner keine Not umschließt,
Macht mir den Himmel auf und schließt die Hölle zu.
Ach Herr, laß dein lieb' Engelein
Am letzten End die Seele mein
In Abrahams Schoß tragen,
Den Leib in seim Schlafkämmerlein
Gar sanft ohn ein'ge Qual und Pein
Ruh'n bis am jüngsten Tage!
Alsdenn vom Tod erwecke mich,
Daß meine Augen sehen dich
In aller Freud, o Gottes Sohn,
Mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
Ich will dich preisen ewiglich!
Translation:
Rest well, ye holy bones and members,
Which I henceforth shall never weep for,
Rest well and bring me, too, to rest!
The tomb which for you is assigned,
And henceforth no distress will hold,
Doth open heav'n to me and shut the gates of hell.
Ah Lord, let thine own angels dear
At my last hour my spirit bear
To Abraham's own bosom,
My body in its simple bed
In peace without distress and dread
Rest till the day of judgment!
And then from death awaken me,
That with mine eyes I may see thee
In fullest joy, O God's own Son,
My Savior and my gracious throne!
Lord Jesus Christ, give ear to me,
I would thee praise eternally!
The autograph score by Bammler can be found here (Satz 39 & 40):
http://vmbach.rz.uni-leipzig.de:8971/...
The Monteverdi Choir
The English Baroque Soloists
Conducted by John Eliot Gardiner
Don't miss the performance by City of Dunedin Choir in the Dunedin Town Hall on Sunday 28 March at 3 pm.
Wednesday, March 10, 2010
Bach is hard work
Last night's rejearsal was long and exhausting! St John Passion is not an easy work and I always feel that there are too many notes! This little alto was very tired last night, to the extent of oversleeping this morning and being late for work. Oh well, it's not always easy to combine a working week with choir rehearsals when the pressure is on just prior to a concert.
Nevertheless, it is all worth the effort. It is very rewarding when suddenly there is the feeling: "Yes, it's all coming together now!" and one can begin to enjoy the music. I think we have reached that stage now.
Tickets are on sale now! Get yours now and don't miss this performance in the Dunedin Town Hall on Sunday 28 March at 3:00pm.
Tenor Paul McMahon, singing the role of the Evangelist, is highly regarded in Australia for his interpretation of the baroque repertoire.
Lois Johnston, soprano, and Claire Barton, alto, are well known and admired by Dunedin concert goers. Oliver Sewell (tenor), Chris Bruerton (bass) and Howard Harvey (in the role of Christ), accomplished soloists from Christchurch, will contribute to the experience of this contemplative work.
Orchestral support will be provided by the Southern Sinfonia.
Nevertheless, it is all worth the effort. It is very rewarding when suddenly there is the feeling: "Yes, it's all coming together now!" and one can begin to enjoy the music. I think we have reached that stage now.
Tickets are on sale now! Get yours now and don't miss this performance in the Dunedin Town Hall on Sunday 28 March at 3:00pm.
Tenor Paul McMahon, singing the role of the Evangelist, is highly regarded in Australia for his interpretation of the baroque repertoire.
Lois Johnston, soprano, and Claire Barton, alto, are well known and admired by Dunedin concert goers. Oliver Sewell (tenor), Chris Bruerton (bass) and Howard Harvey (in the role of Christ), accomplished soloists from Christchurch, will contribute to the experience of this contemplative work.
Orchestral support will be provided by the Southern Sinfonia.
Friday, March 5, 2010
St John Passion
Johann Sebastian Bach (1685 - 1750)
St John Passion BWV 245
Chorus: "Herr, Herr, Herr, unser Herrscher"
The Chorus of Kazan State Conservatoire,
The Chorus of the Opera Studio of Kazan State Conservatoire,
The Chamber Orchestra of Kazan State Conservatoire,
Conductor: Leo Kremer
The Salikh Saydashev Great Concert Hall, Kazan, Tatarstan, Russia
May 26, 2005
St John Passion BWV 245
Chorus: "Herr, Herr, Herr, unser Herrscher"
The Chorus of Kazan State Conservatoire,
The Chorus of the Opera Studio of Kazan State Conservatoire,
The Chamber Orchestra of Kazan State Conservatoire,
Conductor: Leo Kremer
The Salikh Saydashev Great Concert Hall, Kazan, Tatarstan, Russia
May 26, 2005
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