Show all 44 parts. Part 1: Anruf und Doxologie. Herr, der du bist der Gott Lord! Thou alone art God. Scene 1: Steinigung des Stephanus. Die Menge der Glaubigen.
The Oratorio Anthology. Tenor
Dieser Mensch hort nicht auf zu reden Now this man ceaseth not to utter. Buy sheetmusic for this work at SheetMusicPlus. Duske, Joachim. Click on the button to go to the page where you can download the music. The choir excelled themselves at a time when, as the English Baroque Soloists, we were still finding our feet as a period-instrument ensemble. Somehow it had the effect of taking the gilt off the gingerbread—the honour we, as foreigners, felt in being singled out and invited to take part in this leading Bach festival, almost the Mecca or Bayreuth of Bach celebrations.
Several of us found it hard not to be riled, not by the absence of audible approbation but by the attitude that lies behind this capricious withholding of applause. It has very little to do with the quality of the performance and everything to do with a pseudo-religious respect accorded to the music by an audience who view themselves as the true guardians of the sacred Bach flame.
Mendelssohn Paulus Carus [MC]: Classical CD Reviews - September MusicWeb-International
The historical flaw in this excessive Bach hagiolatry is that the music is treated as a static object or some holy relic, whereas Bach clearly set store in having his music performed, as we have had confirmed to us time and again during the course of this year. We also look to establish a fruitful and vibrant triangular relationship between Bach as composer-performer, us as recreative per formers, and the audience as complicit participants. That has been the way in all the East German towns where we have played this year.
Such reflections were put into perspective when an elderly lady came forward and offered me a posy of flowers from her garden at the end of the morning concert. Any last trace of grievance vanished when she returned in the evening with an even bigger bunch, this time of wild meadow flowers. In the early s a project to reintegrate the ruined roofless chancel of the fourteenth-century Franciscan church was begun, one that entailed knocking down the false wall at the end of the nave under the crossing.
The pinkish stonework of the choir and chancel, weathered by more than three centuries of buffeting by rain and hail, had acquired a striking patina. Now it is encased by a modern fibreglass roof replacing the original stone vaulting.
Notes and Editorial Reviews
The Lamp of Lothian organisers had designated the central crossing as our performing area atop a thickly carpeted circular dais. Even when covered with wooden flooring I felt it would never be satisfactory for the audience, so I led a splinter group to the east end to try out the acoustics there. We decamped—choir, orchestra, organ and harpsichord—while the engineers uncomplainingly re-rigged their microphones. None of them is particularly flamboyant or festive, yet each in its way is individually expressive.
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This time Bach is using pastel shades rather than primary colours. Here was the nub of eighteenth-century rationalist criticism of Christianity: the concept of Christ as creator and Christ in majestic splendour they could tolerate, but Christ humbled and diminished by poverty and suffering—this to them was patently unsatisfactory and indeed risible. Bach of course took the Lutheran line, and in the opening choral statement he sets out to evoke the fretting Christian soul communing with itself by means of a chain of cumulative dissonances.
Take, for example, the way he follows this opening choral motto, how each voice leads off in turn with a fugal theme to the same words via a simple device of three rising notes in speech rhythm with the third suspended over a dominant ninth. It gives exactly the right yearning, forward momentum to the music, the harmonic tension of its three-note incipit ebbing and flowing within a longer eight-bar paragraph. It is hard to say which adds more eloquence to the consoling mood, the instrumental lines strings doubled by reeds or the choral voices.
Structurally, this movement is unconventional—in the way, for example, that the interleaving of fugal passages for the choir acts like a counter-theme to the partial reappearance of the main theme that is always played by the orchestra. It could almost be a sketch for one of the great Passion setting utterances.
Unable to use it in Leipzig because of the tempus clausum, the ban on singing on the Second to the Fourth Sundays in Advent, Bach decided to recycle it early on in his first Jahrgang in Leipzig for the Seventh Sunday after Trinity as a two-part cantata in eleven movements. This entailed major structural revisions on account of its changed liturgical position: alterations to the aria texts, and three new recitatives the four arias initially followed without a break.
Bach, following Franck, maintains this antithesis throughout the second part, between the present life as a vale of tears and the joy and fulfilment of the afterlife. As so often, there is a lot more going on beneath the surface of the music than at first seems apparent—a deliberate?
Time: ' Click on a button at the right side. You will be transfered to a page where you can download Mendelssohn-Bartholdy's Paulus. Bayerische Staatbibliothek. Our dream: to make the world's treasury of classical music accessible for everyone.