DOCSLIB.ORG

JS BACH ST JOHN PASSION RICHARD EGARR · DIRECTOR & HARPSICHORD JS BACH ST JOHN PASSION BWV245 2 (1724 Version)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JS BACH ST JOHN PASSION RICHARD EGARR · DIRECTOR & HARPSICHORD JS BACH ST JOHN PASSION BWV245 2 (1724 Version) ACADEMY OF ANCIENT MUSIC JS BACH ST JOHN PASSION RICHARD EGARR · DIRECTOR & HARPSICHORD JS BACH ST JOHN PASSION BWV245 2 (1724 version) James Gilchrist · Evangelista Matthew Rose · Jesus Ashley Riches · Pilatus Elizabeth Watts · soprano Sarah Connolly · alto Andrew Kennedy · tenor Christopher Purves · bass Philippa Hyde · Ancilla Richard Latham · Petrus James Geer · Servus Richard Egarr · director & harpsichord Academy of Ancient Music Choir of the AAM Richard Stokes · language advisor Philip Hobbs · producer JS BACH ST JOHN PASSION 3 PART ONE 31’41 1. Chorus Herr, unser Herrscher 7’09 2. Recitativo (Evangelista, Jesus) Jesus ging mit seinen Jüngern 1’05 3. Chorus Jesum von Nazareth! 0’09 4. Recitativo (Evangelista, Jesus) Jesus spricht zu ihnen 0’35 5. Chorus Jesum von Nazareth! 0’09 6. Recitativo (Evangelista, Jesus) Jesus antwortete 0’22 7. Choral O große Lieb 0’40 8. Recitativo (Evangelista, Jesus) Auf daß, das Wort erfüllet würde 1’01 9. Choral Dein Will gescheh, Herr Gott, zugleich 0’43 10. Recitativo (Evangelista) Die Schar aber und der Oberhauptmann 0’45 11. Aria (alto, oboes) Von den Stricken meiner Sünden 4’30 12. Recitativo (Evangelista) Simon Petrus aber folgete Jesu nach 0’13 13. Aria (soprano, flute) Ich folge dir gleichfalls 3’52 14. Recitativo (Evangelista, Ancilla, Petrus, Jesus, Servus) Derselbige Jünger 3’02 15. Choral Wer hat dich so geschlagen 1’20 16. Recitativo (Evangelista) Und Hannas sandte ihn gebunden 0’22 17. Chorus Bist du nicht seiner Jünger einer? 0’25 18. Recitativo (Evangelista, Petrus, Servus) Er leugnete aber und sprach 1’26 19. Aria (tenor, tutti) Ach, mein Sinn 2’54 20. Choral Petrus, der nicht denkt zurück 0’57 JS BACH ST JOHN PASSION 4 PAR T T WO 72’56 1. Choral Christus, der uns selig macht 0’57 2. Recitativo (Evangelista, Pilatus) Da führeten sie Jesum 0’36 3. Chorus Wäre dieser nicht ein Übeltäter 0’55 4. Recitativo (Evangelista, Pilatus) Da sprach Pilatus zu ihnen 0’11 5. Chorus Wir dürfen niemand töten 0’34 6. Recitativo (Evangelista, Pilatus, Jesus) Auf daß erfüllet würde das Wort 1’36 7. Choral Ach großer König 1’13 8. Recitativo (Evangelista, Pilatus, Jesus) Da sprach Pilatus zu ihm 1’14 9. Chorus Nicht diesen, sondern Barrabam! 0’10 10. Recitativo (Evangelista) Barrabas aber war ein Mörder 0’25 11. Arioso (bass, violas d’amore) Betrachte, meine Seel 2’07 12. Aria (tenor, violas d’amore) Erwäge, wie sein blutgefärbter Rücken 8’10 13. Recitativo (Evangelista) Und die Kriegsknechte flochten eine Krone 0’19 14. Chorus Sei gegrüßet, lieber Jüdenkönig! 0’32 15. Recitativo (Evangelista, Pilatus) Und gaben ihm Backenstreiche 0’59 16. Chorus Kreuzige, kreuzige! 0’52 17. Recitativo (Evangelista, Pilatus) Pilatus sprach zu ihnen 0’18 18. Chorus Wir haben ein Gesetz 1’08 19. Recitativo (Evangelista, Pilatus, Jesus) Da Pilatus das Wort hörete 1’18 20. Choral Durch dein Gefängnis, Gottes Sohn 0’42 JS BACH ST JOHN PASSION 5 PART TWO contd. 21. Recitativo (Evangelista) Die Jüden aber schrieen und sprachen 0’04 22. Chorus Lässest du diesen los 1’08 23. Recitativo (Evangelista, Pilatus) Da Pilatus das Wort hörete 0’40 24. Chorus Weg, weg mit dem, kreuzige ihn! 0’57 25. Recitativo (Evangelista, Pilatus) Spricht Pilatus zu ihnen 0’12 26. Chorus Wir haben keinen König 0’08 27. Recitativo (Evangelista) Da überantwortete er ihn 0’47 28. Aria (bass) und chorus Eilt, ihr angefochtnen Seelen 3’42 29. Recitativo (Evangelista) Allda kreuzigten sie ihn 1’22 30. Chorus Schreibe nicht “Der Jüden König” 0’31 31. Recitativo (Evangelista, Pilatus) Pilatus antwortet 0’19 32. Choral In meines Herzens Grunde 0’50 33. Recitativo (Evangelista) Die Kriegsknechte aber 0’34 34. Chorus Lasset uns den nicht zerteilen 1’33 35. Recitativo (Evangelista, Jesus) Auf daß erfüllet würde die Schrift 1’39 36. Choral Er nahm alles wohl in acht 0’51 37. Recitativo (Evangelista, Jesus) Und von Stund an nahm sie der Jünger 1’17 38. Aria (alto, viola da gamba) Es ist vollbracht! 5’28 39. Recitativo (Evangelista) Und neiget das Haupt 0’21 40. Aria (bass, cello) und choral Mein teurer Heiland, laß dich fragen 5’08 JS BACH ST JOHN PASSION 6 PART TWO contd. 41. Recitativo (Evangelista) Und der Vorhang im Tempel zerriß 0’10 42. Arioso (tenor, flute, oboe da caccia) Mein Herz, indem die ganze Welt 0’38 43. Aria (soprano, flute, oboe da caccia) Zerfließe, mein Herze 7’24 44. Recitativo (Evangelista) Die Jüden aber, dieweil es der Rüsttag war 1’59 45. Choral O hilf, Christe, Gottes Sohn 0’53 46. Recitativo (Evangelista) Darnach bat Pilatum Joseph von Arimathia 2’04 47. Chorus Ruht wohl, ihr heiligen Gebeine 6’27 48. Choral Ach Herr, laß dein lieb Engelein 1’38 Total timing 104’37 FURTHER MOVEMENTS AND VERSIONS AVAILABLE ONLINE www.aam.co.uk/stjohnpassion Chorus Wir haben keinen König – versions with alternative instrumentation Chorus O Mensch, bewein (opening chorus of 1725 version) – complete performance JS BACH ST JOHN PASSION 7 “Herr, unser Herrscher”: recording the opening chorus Saint Jude-on-the-Hill, London, 1 April 2013 JS BACH ST JOHN PASSION 8 INTRODUCING THE PASSION When the St John Passion was first performed In the early 18th century it was highly “The people certainly would not have come at the Nikolaikirche in Leipzig on Good Friday contentious to write Passion music in an to church so promptly and in such numbers 1724, Bach’s congregation would never have operatic style. Although some people argued because of the preacher but rather presumably previously heard anything like it. The custom in that an operatic style allowed composers to because of the music. The libretto was simply Leipzig was to tell the story of Christ’s trial and arouse the emotions contained in the Passion the account of Christ’s suffering from one of the crucifixion using the simple setting of Johann story, other Lutherans preferred old-fashioned Gospels, into which frequent chorales and also Walter (c.1530), where the words of scripture styles such as motets that conveyed solemnity two or three arias were introduced. I marvelled were recited as in plainchant. The only change and devotion. There was also disquiet at how diligently people listened and how devoutly from this tradition occurred in 1721 and 1722 the way that many modern versions of the they sang along; it was the moving music when Bach’s predecessor, Johann Kuhnau, Passion – such as the settings of Barthold that contributed the most to this, and even performed a more elaborate setting of the Heinrich Brockes’s libretto Der für die Sünde though the service lasted more than four hours, Passion according to St Mark, using instruments der Welt gemarterte und sterbende Jesus (“The everyone stayed until it was over.” as well as voices and intermingling the Biblical story of Jesus, suffering and dying for the sins narrative with contemplative arias and chorales. of the world”) – dispensed with the Biblical By contrast, Christian Gerber (1732), an text altogether, instead putting the story into opponent of elaborate church music, reported Bach’s St John Passion followed Kuhnau’s model modern language (complete with the ornate a hostile response to the innovations of in some respects, but went much further than metaphors beloved of baroque poets). composers such as Bach: Kuhnau had dared. Bach’s work was of a length never before encountered in Leipzig, and The polarised opinions aroused by pieces similar “But gradually the Passion story, which had used a substantial ensemble including chorus, to the St John Passion can be sensed from formerly been sung in simple plainchant, orchestra and several unusual instruments such two accounts of the time. Gottfried Ephraim humbly and reverently, began to be sung as the viola d’amore and viola da gamba. In Scheibel (1721) claimed that performing with many kinds of instruments in the most addition, Bach’s Passion was far more operatic in Passions in an operatic style was a way to attract elaborate fashion … When this Passion music style, with vivid arias communicating the pathos large congregations to church: was performed for the first time in one of our and pain of Christ’s trial and crucifixion. great cities with 12 violins [i.e. strings], many JS BACH ST JOHN PASSION 9 oboes, bassoons and other instruments, many Passion oratorios with librettos by Brockes The final element in the text of the St John people were shocked and didn’t know what had abandoned the scriptural text altogether. Passion comprises strophes from chorales to make of it. In the pew of a noble family in Instead the clergy seem to have instructed (German congregational hymns), probably church, many ministers and noble ladies were Bach to retain the entire Biblical text in the chosen by Bach himself. The chorales comment present and sang the first Passion hymn from St John Passion. The Biblical words are set to on the action and voice the collective response their books with great devotion, but when this recitative, with a tenor voice (the Evangelist) of the congregation, using the familiar language theatrical music commenced, all these people acting as narrator. In addition, Bach included of Lutheran hymnodists. For instance, the first were filled with the greatest amazement, looked two further layers of text, creating a rich poetic chorale (CD 1, track 7) is sung after Jesus has at one another, and said, ‘May God preserve us, framework for the music. For the arias, he freely identified himself to his captors, and children. It’s as if a person were at the opera or used free poetry in an up-to-date style; these expresses the self-sacrifice inherent in Christ’s the theatre.’ Everyone thoroughly disapproved texts were assembled by an unknown author actions: “O große Lieb, O Lieb ohn alle Maße” of the music and registered justified complaints (possibly Bach himself, or a local theologian).
Load more

Recommended publications
  • The Bach Experience
    MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA.
    [Show full text]
  • Liturgical Drama in Bach's St. Matthew Passion
    Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy.
    [Show full text]
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C.
    [Show full text]
  • Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
    Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City.
    [Show full text]
  • PROGRAM NOTES Ludwig Van Beethoven Overture to Fidelio
    PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Overture to Fidelio Beethoven began to compose Fidelio in 1804, and he completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. Beethoven revised the score in preparation for a revival that opened there on March 29, 1806. For a new production in 1814, he made substantial revisions and wrote the overture performed at these concerts. The overture wasn’t ready in time for the premiere on May 23, 1814, in Vienna’s Kärntnertor Theater, but it was played at the second performance. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani, and strings. Performance time is approximately six minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Overture to Fidelio were given at the Auditorium Theatre on December 14 and 15, 1894, with Theodore Thomas conducting. Our most recent subscription concert performances of the overture (and the complete opera) were given at Orchestra Hall on May 26, 28, and 31, 1998, with Daniel Barenboim conducting. The Orchestra first performed this overture at the Ravinia Festival on July 16, 1938, with Willem van Hoogstraten conducting, and most recently on July 30, 2008, with Sir Andrew Davis conducting. Nothing else in Beethoven’s career caused as much effort and heartbreak as the composition of his only opera, which took ten years, inspired four different overtures, and underwent two major revisions and a name change before convincing Beethoven that he was not a man of the theater.
    [Show full text]
  • Beethoven's Creative Process of Composition
    Click here for Full Issue of Fidelio Volume 7, Number 3, Fall 1998 Beethoven’s Creative Process of Composition Reflections on Leonore (1806) And Fidelio (1814) by Anno Hellenbroich In the springtime of my life Fortune fled from me! I dared to boldly tell the truth, And chains are my reward. Florestan’s Aria, Fidelio, Act II Come, Hope! Let not the last star Of the weary be dimmed! Light my goal, be it ever so far, Love will attain it. I follow my inner impulse; I waver not; The duty of true married love Strengthens me! Leonore’s Aria, Fidelio, Act I t least three completely different productions of Beethoven’s Great Opera Fidelio (1814) were pre- Asented on German stages in 1997 alone. Can it be, that Beethoven’s musical personification of a great figure as wife, Leonore—who, in her singing celebrates Y not only “true married love,” but, by risking her life, N , n o i achieves the rescue of Florestan in the dramatic develop- t c e l l o ment of the “Great Opera”—might have a completely C r e unheard-of effect at the present historical turning point? g n a r G For sure, it is certain that the number of Fidelio perfor- e h T mances demonstrates, that, completely contrary to the Florestan is saved from Pizarro by Leonore. spirit of the times, people today are more than ever seek- ing the impact of Beethovenesque “Great Opera.” The musical changes from Leonore to If one examines the performances in detail, it is com- Fidelio—the dimly conscious metaphor pletely apparent from them, that there are still directors living in the old era of ’68-generation “director’s theater” of ‘liberation of creative power through (Regietheater).* According to one review, one of the freedom’—can be recognized as the __________ ‘loose cords’ through which the work of * A recent decades’ fad, according to which theatrical “freedom” is art is tightened and shaped.
    [Show full text]
  • PROGRAM NOTES Ludwig Van Beethoven Leonore Overture No. 3
    PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Leonore Overture No. 3 Beethoven began to compose Fidelio in 1804 and completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. When Beethoven revised the score in preparation for a revival that opened there on March 29, 1806, he reworked the overture as Leonore Overture no. 3. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings, and an offstage trumpet. Performance time is approximately thirteen minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Leonore Overture no. 3 were given at the Auditorium Theatre on January 29 and 30, 1892, with Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on October 29, 30, 31, and November 1, 1997, with Michael Gielen conducting. The Orchestra first performed this overture at the Ravinia Festival on July 23, 1936, with Isaac Van Grove conducting, and most recently on August 5, 2007, with James Conlon conducting. Of the four overtures Beethoven wrote for his opera Leonore—later renamed Fidelio—only the one called Leonore no. 3 has gained favor both in the concert hall, where it is much loved, and in the opera house, where it is often played, inappropriately, just before the finale. That it is an intruder in the opera house, where it can too easily overshadow all but the greatest performances of Fidelio, is something Beethoven himself could easily have told us.
    [Show full text]
  • Overture to Fidelio, Op. 72C
    Listen for the piccolo toward the end of the last movement of Beethoven’s Fifth. It’s an iconic little bling from an instrument that had never been used in a symphony before — a wickedly fast, articulated scale that has to cut through the entire orchestra. ANNE WHALEY LANEY, NCS PRINCIPAL FLUTE In Beethoven’s Fifth Symphony, the trombones do not play until the triumphant C- major chords, which herald the beginning of the fourth movement. It’s a glorious moment that never grows old to play or to listen to. JOHN ILIKA, NCS PRINCIPAL TROMBONE Overture to Fidelio, Op. 72c LUDWIG VAN BEETHOVEN BORN December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna PREMIERE Composed 1814; first performance May 26, 1814, in Vienna, conducted by the composer OVERVIEW Beethoven’s only opera, Fidelio, underwent numerous major revisions before the composer arrived at the final version. The overture to the opera underwent even greater transformations. We have today four different overtures, all of them popular in the concert hall. The first three are called Leonore (Nos.1, 2, and 3), after the heroine’s name and original title of the opera; the fourth is known as Fidelio, Leonora’s pseudonym and Beethoven’s final title of the opera. The complex plot is a paean to marital fidelity and political justice. Leonore disguises herself as a young man (Fidelio) to free her husband, Florestan, who has been incarcerated unjustly as a political prisoner. Beethoven’s difficulties with the earlier versions of the overture (the three entitled Leonore) stemmed from the fact that they were too dramatic and explicit, following the trajectory of the plot by including themes from the opera, thereby giving away the most dramatic and exciting moments.
    [Show full text]
  • Houston Grand Opera Orchestra & Houston Ballet Orchestra
    Houston Grand Opera Orchestra & Houston Ballet Orchestra 2019 Substitute and Extra Musicians Audition Material March 4th, 2019: Oboe & Bassoon March 6th, 2019: Horn, Trombone, Bass Trombone, Tuba, & Percussion March 7th, 2019: Violin, Viola, Cello, & Bass March 4th, 2019: Oboe & Bassoon Section Oboe Solo Repertoire Mozart, W. A. Oboe Concerto, Mvt. I, exposition Excerpts Brahms, J. Violin Concerto, Mvt. II, mm. 3–32 (Oboe 1) Strauss, R. Don Juan, beginning to four before B (Oboe 1) Strauss, R. Don Juan, four after L to seventeen after M (Oboe 1) Tchaikovsky, P. Casse-Noisette, Act I, No. 1, E to one before F (Oboe 2) Section Bassoon (optional Contrabassoon) Solo Repertoire Mozart, W. A. Bassoon Concerto, Mvt. I, exposition Excerpts Mozart, W. A. Le nozze di Figaro, Overture, mm. 1–58 Mozart, W. A. Le nozze di Figaro, Overture, mm. 139–171 Tchaikovsky, P. Casse-Noisette, Act I, No. 1, mm. 84–117 (Bassoon 1) Tchaikovsky, P. Casse-Noisette, Act II, No. 12b, mm. 33–End [skip long rests] (Bassoon 1) Wagner, R. Tannhäuser (Paris version), Overture, mm. 1–37 (Bassoon 2) Optional Contrabassoon Excerpt Strauss, R. Salome (full orchestration), six after 151 to four after 154 March 6th, 2019: Horn, Trombone, Bass Trombone, Tuba, & Percussion Section Horn Solo Repertoire Mozart, W. A. Concerto No. 2, Mvt. I, exposition or Mozart, W. A. Concerto No. 4, Mvt. I, exposition Excerpts Beethoven, L. Fidelio, Overture, mm. 5–16 (Horn 2 in E) Beethoven, L. Fidelio, Overture, mm. 45–55 (Horn 2 in E) Beethoven, L. Piano Concerto No. 5, mm. 14–107 (Horn 2 in E♭) Tchaikovsky, P.
    [Show full text]
  • Beethoven's Fidelio Study Guide for Secondary
    BEETHOven’s FIDELIO STUDY GUIDE FOR SECONDARY SCHOOLS BY CARLO DELFRATI 3 Study GUIDE for Secondary SCHOOLS Introduction The plot This guide is intended to introduce students The plot of Fidelio is simple. Set in Spain, it to opera: its language, characteristics, and deals with an episode that some sources conventions. It’s designed for secondary report actually took place during the Jac- schools, whether upper or lower (or middle obin Reign of Terror (1793-94), but there are and high schools in the US) depending on strong doubts about its authenticity. It fol- the topic, and offers a variety of educational lows a genre cultivated in France and Italy suggestions that can be used by teachers in by other composers, such as Pierre Gaveaux, whatever manner works best for their ori- Ferdinando Paer, Simone Mayr, and Luigi entation, course work, or the educational Cherubini. The main theme of “rescue opera” scheme in which they work. or opéra à sauvetage was the rescue of the The historical and musicological essays con- protagonist from danger or even death, with tained in this volume and on the accompa- the inevitable happy ending that featured nying DVD-ROM explore a range of topics the triumph of the ideals of liberty. about the figure of Beethoven, including the At the beginning of the first of two acts into inevitable topic of his deafness, along with which Fidelio is divided, young Jaquino is the changing role of the composer in soci- wooing Marzelline, the daughter of Rocco, ety. They tell the complicated backstory of the jailer of a state prison.
    [Show full text]
  • Christmas Oratorio
    WASHINGTON BACH CONSORT Dana Marsh, Artistic Director Christmas Oratorio Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. You’ll CHRISTMAS ORATORIO enjoy the Washington Bach Consort as you’ve never Weihnachts-Oratorium, BWV 248 heard them before, but you’ll also gain revelations Johann Sebastian Bach (1685–1750) and insights into the music itself coming from our Dana Marsh, Artistic Director two resident Bach scholars, Michael Marissen and Daniel R. Melamed. Supported in part by grants Part I: The First Day of Christmas from the National Endowment for the Humanities Jauchzet, frohlocket, auf, preiset die Tage, BWV 248I and the J. Reilly Lewis Legacy Fund, Bach Friday, 12.25.20 at 8 p.m. YouTube & Facebook Interactions is a new digital concert experience offering the expressive heights of Bach’s musical Part II: The Second Day of Christmas language as well as the story behind its creation. Und es waren Hirten in derselben Gegend, BWV 248II The series features three renowned cantatas, Thursday, 1.7.21 at 8 p.m. on YouTube & Facebook Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm, Part III: The Third Day of Christmas der Heiden Heiland, BWV 61, followed by all six parts Herrscher des Himmels, erhöre das Lallen, BWV 248III of Bach’s beloved Christmas Oratorio, BWV 248. Thursday, 1.14.21 at 8 p.m. on YouTube & Facebook Each part will be presented on its intended day of liturgical observance, over the twelve days of Part IV: New Year’s Day Christmas to the Feast of the Epiphany (January 6).
    [Show full text]
  • St. John Passion March 2018
    Music of the Baroque Chorus and Orchestra Jane Glover, Music Director Soprano Violin 1 Flute Laura Amend Gina DiBello, Mary Stolper, principal Alyssa Bennett concertmaster Alyce Johnson Bethany Clearfield Kevin Case, co-assistant Katelyn Lee concertmaster Hannah Dixon Kathleen Brauer, Oboe McConnell co-assistant Anne Bach, principal Susan Nelson concertmaster Peggy Michel Bahareh Poureslami Teresa Fream Emily Yiannias Michael Shelton Bassoon William Buchman Alto Violin 2 Margaret Fox Sharon Polifrone, Julia Hardin principal Organ Amanda Koopman Ann Palen Michael Beattie Maggie Mascal Paul Vanderwerf Ilana Goldstein Kiju Joh Anna VanDeKerchove Lori Ashikawa Theorbo Daniel Swenberg Tenor Viola Sam Grosby Elizabeth Hagen, Supertitles Brendon Marsh principal Robert McConnell Josh R. Pritchett Terri Van Valkinburgh Ryan Townsend Strand Claudia Lasareff- Zachary Vanderburg Mironoff Christopher Windle Amy Hess Bass Cello Corey Grigg Barbara Haffner, Jan Jarvis principal Keven Keys Judy Stone Kevin Krasinsky Craig Trompeter Kyle Sackett Max Seiffert Viola da gamba Craig Trompeter Bass Collins Trier, principal Michael Hovnanian The St. John Passion Biographies Acclaimed British conductor Jane Glover has been Jane Glover, conductor Music of the Baroque’s music director since 2002. She William Jon Gray, chorus director made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s L’Eritrea. Sunday, March 25, 2018, 3:00 PM She joined Glyndebourne in 1979 and was music North Shore Center for the Performing Arts, Skokie director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991 and has also held Monday, March 26, 2018, 7:30 PM principal conductorships of both the Huddersfield and Harris Theater for Music and Dance, Chicago the London Choral Societies.
    [Show full text]