The St John Passion, performed by the Nederlands Bach Society for All of Bach, was the first Passion Bach had written as cantor in Leipzig. Seine zuletzt uraufgeführten Werke sind die Oper The Sacrifice (Herbst 2007, Welsh National Opera) und Sundogs, ein großes a cappella-Chorwerk, welches ebenfalls auf Texten von Symmons Roberts beruht und im August 2006 vom Indiana University Contemporary Vocal Ensemble uraufgeführt wurde, eine Johannespassion, St John Passion (2008), und ein Violin- … On some of these recordings, the solo singer is reinforced in choral movements with a larger orchestra by a ripieno singer (OVPP+R). During the vespers service, the two parts of the work were performed before and after the sermon. Title Das Leiden unsers Herren Jesu Christi, wie uns das beschreibet der heilige Evangeliste Johannes Composer Schütz, Heinrich: Opus/Catalogue Number Op./Cat. Five chorales conclude a scene (in movements 5, 14, 26, 37 and 40); while a chorale opens Part II (15). For the publication of an English version, I needed an English bible translation that is either in the public domain or under a free license. Bach-cantatas website page; Original text and translations. Deutsch: Johannespassion. Johann Sebastian Bach. The work was first recorded by symphonic choirs and orchestras. Two variants of movement numbering are given, first that of the Neue Bach-Ausgabe (NBA), then that of the Bach-Werke-Verzeichnis (BWV). Jump to navigation Jump to search. One chorale accompanies the bass soloist in an aria (32). In the middle of the hearing, a chorale (22) interrupts the argument, which is a discussion about freedom and captivity. It was written during Bach's first year as director of church music in Leipzig and was first performed on April 7, 1724, at … James MacMillan: St John Passion (2008) Hans Peter Türk: Siebenbürgische Passionsmusik für den Karfreitag (2009) Bob Chilcott vertonte 2013 die Johannes-Passion. "Ach Herr, laß dein lieb Engelein" (Ah Lord, let your own angels dear)[8] is stanza 3 of Martin Schalling's 1569 hymn "Herzlich lieb hab ich dich, o Herr".[8][29]. Zeig uns durch deine Passion, dass du, der wahre Gottessohn, zu aller Zeit, auch in der größten Niedrigkeit, … Bach\'s St John Passion is a haunting and dramatic musical depiction of the Passion of Christ, as told in the Gospel of John. He repeated it several times between 1724 and 1749, experimenting with different movements and changing others, which resulted in four versions (with a fifth one not performed in Bach's lifetime, but representing the standard version). The narrator is the Evangelist, a tenor. In the following, the movement numbers are those of the NBA, version I, unless otherwise noted. The third chorale, movement 11, is inserted after Jesus asks those who are beating him for justification. The Passion of our Lord Jesus Christ according to Saint John. German text . Creation Date: November 15, 2000: 2,500,000th Hit: January 17, 2010. "Er nahm alles wohl in acht" (He of all did well take heed)[8] is stanza 20 of Stockmann's hymn (14). Bach led the first performance on 7 April 1724[10] at the Nikolaikirche (St. Nicholas)[11] as part of a Vesper service for Good Friday. Recordings of the St John Passion are shown as a sortable table of selected notable recordings of Johann Sebastian Bach's St John Passion, BWV 245. Category:St. John Passion. The Bible text is reflected in contemporary poetry and in chorales that often end a "scene" of the narration, similar to the way a chorale ends most Bach cantatas. Saint Veronica, also known as Berenike, was a woman from Jerusalem who lived in the 1st century AD, according to extra-biblical Christian sacred tradition. On 17 March 1739, while still working on this revision, Bach was informed that the performance of the Passion setting could not go ahead without official permission, thus (most likely) effectively halting any plans for that year. Voice-leading and instrumental notation altered; Most extensive revision in voice-leading and instrumental notation. In version 2, Bach opened with a chorale fantasia on "O Mensch, bewein dein Sünde groß" (O man, bewail thy sins so great), the first stanza of a 1525 hymn by Sebald Heyden,[8] a movement which he ultimately used to conclude Part I of his St Matthew Passion, returning to the previous chorus Herr, unser Herrscher in later versions of the St John Passion. Now Judas, who betrayed him, also knew the place, because Jesus often met there with his disciples. It was compiled by an unknown author, who partly used existing text: from the Brockes Passion (Der für die Sünde der Welt Gemarterte und Sterbende Jesus, aus den IV Evangelisten, Hamburg, 1712 and 1715) by Barthold Heinrich Brockes, he copied the text for movements 7, 19, 20, 24, 32, 34, 35 (partly) and 39; he found movement 13 in Christian Weise's Der Grünen Jugend Nothwendige Gedanken (Leipzig, 1675) and took from Postel's Johannes-Passion (c. 1700) movements 19 (partly), 22 and 30. After successful concerts in Shanghai, Kanazawa and Tokyo with Beethoven's Choral Fantasy and performances of Bach's B-Minor Mass in Brno and Prague in spring and autumn 2008, in which the soloists were previous participants of the Schleswig Holstein Festival Academy Choir, he conducted the German premiere of Robert Wilson's production of Bach's St John Passion in … It was possibly performed in 1728 and definitely in 1732. The final chorale of St. John Passion with all 3 stanzas of the hymn "Herzlich lieb hab ich dich, o Herr" according to no. 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. Die Matthäus-Passion und die Johannes-Passion sind die … Die heute allgemein gebräuchliche Endfassung stammt aus … 12c ends with "und alsobald krähete der Hahn" in B minor. From the late 1960s, historically informed performances (HIP) tried to adhere more to the sounds of the composer's lifetime, who typically wrote for boys choirs and for comparatively small orchestras of Baroque instruments, often now called "period instruments". Translations in context of "St John Passion" in English-German from Reverso Context: With the Marburg Bach Choir, she has performed Haydn's Stabat Mater (2004), Handels's Messiah (2005), and Bach's St John Passion. [8][28], The eleventh chorale, movement 40, ends the Passion. 18,1–19,42 (2014) Fredrik Sixten: Johannespassionen (2015) Gunther Martin … St. John Passion Christoph Dalitz This is an English adaption of a setting of the Passion, which I had first written in 1991 and later revised 2014 to fit a public domain German bible translation. The structure of the St John Passion (German: Johannes-Passion), BWV 245, a sacred oratorio by Johann Sebastian Bach, is "carefully designed with a great deal of musico-theological intent". [8][23][24], The seventh chorale, movement 26, ends the scene of the court hearing, after Pilate refuses to change the inscription. [8][21], The seventh chorale, movement 22, is the central movement of the whole Passion, which interrupts the conversation of Pilate and the crowd by a general statement of the importance of the passion for salvation: "Durch dein Gefängnis, Gottes Sohn, ist uns die Freiheit kommen" (Through your prison, Son of God, must come to us our freedom)[8][22] is not part of a known hymn, but the text of an aria from a St John Passion by Postel from around 1700. The following tables give an overview of all versions of the Passion, first performed in 1724. For the publication of an English version, I needed an English bible translation that is either in the public domain or under a free license. The information lists for one recording typically: "Johannes-Passion BWV 245 / Recordings - Part 2 / Complete Recordings 1950-1959", "Johannes-Passion BWV 245 / Recordings - Part 3 / Complete Recordings 1960-1969", "Johannes-Passion BWV 245 / Recordings - Part 4 / Complete Recordings 1970-1979", "Johannes-Passion BWV 245 / Recordings - Part 5 / Complete Recordings 1980-1989", "Johannes-Passion BWV 245 / Recordings - Part 6 / Complete Recordings 1990-1999", "Johannes-Passion BWV 245 / Recordings - Part 8 / Complete Recordings 2000-2009", "Johannes-Passion BWV 245 / Recordings - Part 9 / Complete Recordings 2010-2019", Masses, magnificat, passions and oratorios, List of compositions by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=St_John_Passion_discography&oldid=988198161, Discographies of compositions by J. S. Bach, Creative Commons Attribution-ShareAlike License, Large choirs (red background): Bach (choir dedicated to Bach's music, founded in the mid of the 20th century), Boys (choir of all male voices), Radio (choir of a broadcaster), Symphony (choir related to a symphony orchestra), Medium-size choirs, such as Chamber choir, Chorale (choir dedicated mostly to church music), One voice per part (green background): OVPP or OVPP+R (with ripienists reinforcing the soloists in some chorale movements), Large orchestras (red background): Bach (orchestra dedicated to Bach's music, founded in the mid of the 20th century), Radio (symphony orchestra of a broadcaster), Symphony, Orchestra on period instruments (green background), boy soprano and alto soloists of the Wiener Sängerknaben, This page was last edited on 11 November 2020, at 18:27. It is listed as BC D 2d. Other titles for John include John the Forerunner in Eastern Christianity, John the Immerser in some Baptist traditions, and the prophet John in Islam.He is sometimes alternatively called John the Baptizer. St. John Passion Christoph Dalitz This is an English adaption of a setting of the Passion, which I had first written in 1991 and later revised 2014 to fit a public domain German bible translation. This was performed in 1724. https://www.classicfm.com/composers/bach/guides/bachs-passion-music-guide There are no extant Flute parts for this version, so the movements that normally require them have violins instead. (No.1) For 4 Violins, 2 Violas and 2 Cellos (Bartoli) Complete Score * #502746 - 0.29MB, 12 pp. At that time, Jesus went out with his disciples across the Kidron valley to a place where there was a garden, which he and his disciples entered. [8][clarification needed], The second chorale, movement 5, ends the first scene, after Jesus remarks that he has to be obedient. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. He used three alternative arias, one of them with a chorale sung by the choir, and replaced the two closing movements, the chorus Ruht wohl and the chorale Ach Herr, laß dein lieb Engelein with the chorale fantasia on "Christe, du Lamm Gottes" (Christ, you Lamb of God),[11] the German Agnus Dei, published in Braunschweig in 1528. The "immediate, dramatic quality" of the "kind of musical equivalent of the Passion Play" relies on the setting of the interaction between the historical persons (Jesus, Pilate, Peter, Maid, Servant) and the crowd ("soldiers, priests, and populace").[2]. The gospel account by John narrates the story in five "scenes". The work displays a thoughtful symmetry. [7], The third source for the text is contemporary poetry that reflects the biblical narration. However, though he had stopped at measure 42 of Movement 10, he continued to work on this revision, as shown by the copyists' score and parts. After successful concerts in Shanghai, Kanazawa and Tokyo with Beethoven's Choral Fantasy and performances of Bach's B-Minor Mass in Brno and Prague in spring and autumn 2008, in which the soloists were previous participants of the Schleswig Holstein Festival Academy Choir, he conducted the German premiere of Robert Wilson's production of Bach's St John Passion in … [4], Bach incorporated two short interpolations from the Gospel of Matthew (in Version I, one from Matthew and one from the Gospel of Mark), Matthew 26:75 after John 18:27, describing the weeping of Peter, and Matthew 27:51–52 after John 19:30, describing the tearing of the temple curtain (in Version I, this was replaced by Mark 15:38). The Bach Compendium lists it as BC D 2a. [5] He set them all in common time for four parts, the instruments playing colla parte with the voices. He also dispensed with the Lute and the Viola d'amore, replacing them with an Organ and Violini con sordino. - 0.0/10 2 … The Passio secundum Johannem or St John Passion [1] (German: Johannes-Passion), BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the older of two surviving Passions by Bach. Now 12c ends in Measure 31 and Movement 33 is eliminated altogether (replaced by a lost Sinfonia). Bach", "Johann Sebastian Bach / Johannespassion", "Literary Origins of Bach's St. John Passion: 1704–1717", "Die Johannes-Passion von Johann Sebastian Bach", "BWV 245 – Passio secundum Johanneum / St. John Passion", Masses, magnificat, passions and oratorios, List of compositions by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=St_John_Passion_structure&oldid=1000668645, Passions and oratorios by Johann Sebastian Bach, Wikipedia articles needing clarification from February 2017, Articles with International Music Score Library Project links, Articles with dead external links from May 2018, Articles with permanently dead external links, Creative Commons Attribution-ShareAlike License. Again, in a repetition of similar musical material, a preceding turba choir explains the law, while a corresponding movement reminds Pilate of the Emperor whose authority is challenged by someone calling himself a king. It also represents (outside of the St Matthew Passion) the largest instrumental ensemble used (calling for 3 1st Violins), and (for the first time in his work) calls for a Contrabassoon (used in all choral parts, as well as instrumental ritornellos). The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. This is listed as BC 2b.