  | Johann Sebastian Bach (1685 - 1750).
Biography:
Johann Sebastian Bach was a prolific German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, a control of harmonic and motivic organisation from the smallest to the largest scales, and the adaptation of rhythms and textures from abroad, particularly Italy and France.
While Bach's fame as an organist was great during his lifetime, he was not particularly well-known as a composer. His adherence to Baroque forms and contrapuntal style was considered "old-fashioned" by his contemporaries, especially late in his career when the musical fashion tended towards Rococo and later Classical styles. A revival of interest and performances of his music began early in the 19th century, and he is now widely considered to be one of the greatest composers in the Western tradition.
Matthäus Passion (BWV 244):
Bach's St. Matthew Passion was written in 1727. Only two of the four (or five) settings of the Passion which Bach wrote have survived; the other is the St. John Passion. The St. Matthew Passion was probably first performed on Good Friday (11 April) 1727 in the Thomaskirche in Leipzig, where Bach was the Kapellmeister. He revised it by 1736, performing it again on March 30, 1736, this time including two organs in the instrumentation.
The St. Matthew Passion was not heard outside of Leipzig until 1829, when Felix Mendelssohn performed an abbreviated and modified version of it in Berlin to great acclaim. Mendelssohn's revival of the St. Matthew Passion brought the music of Bach, particularly the large-scale works, to a public and scholarly attention that has persisted into the present era.
1. Arie:
Erbarme dich, mein Gott,
Um meiner Zähren Willen!
Schaue hier, Herz und Auge
Weint vor dir bitterlich.
Erbarme dich, erbarme dich!
1. Aria:
Have mercy, my God,
for the sake of my tears!
Look here, heart and eyes
weep bitterly before You.
Have mercy, have mercy!
Collegium Vocale Gent.
Andreas Scholl (Countertenor).
Dir. Philippe Herreweghe. Auteur: OedipusColoneus Tags: 244 Bach BWV Collegium Gent Herreweghe Johann Matthäus Passion Philippe Sebastian Vocale Ajoutée: samedi 29 septembre 2012 00:04:18 |
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 | ?
"Kure Kure Takora" ("Gimmie gimmie octopus"). Japanese kids show from the sixties... Pure nonsense and fun... Auteur: Jschabik Tags: 244 episode gimmie japan japanese kure octopus show takora tv ? Ajoutée: mercredi 10 janvier 1990 14:39:54 |
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 | "Wir setzen uns mit Tränen nieder" tratta dalla Passione di San Matteo di Johann Sebastian Bach eseguita dall'orchestra e Coro sinfonico di Chicago diretto da Sir Georg Solti Auteur: Macciboma Tags: Bach Matthäus Passion Solti Ajoutée: jeudi 03 mai 2012 23:28:58 |
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 | Johann Sebastian Bach - Matthaus Passion (BWV 244).
1. Chor I & II & Choral.
(Töchter Zion und Gläubige Seelen)
Kommt, ihr Töchter, helft mir klagen,
Sehet! - Wen? - den Bräutigam!
Seht ihn! - Wie? - als wie ein Lamm.
Sehet! - Was? - seht die Geduld,
Seht! - Wohin? - auf unsre Schuld.
Sehet ihn aus Lieb und Huld
Holz zum Kreuze selber tragen.
O Lamm Gottes unschuldig,
Am Stamm des Kreuzes geschlachtet,
Allzeit erfunden geduldig,
Wiewohl du warest verachtet.
All Sünd hast du getragen,
Sonst müßten wir verzagen.
Erbarm dich unser, o Jesu.
1. Chorus I & II and Chorale.
(Daughters of Zion and Faithful Souls)
Come, daughters, help me lament,
behold! - Whom? - the Bridegroom!
Behold Him! - How? - As a Lamb.
Behold! - What? - behold the patience,
look! - Where? - at our guilt.
See Him, out of love and graciousness
bear the wood for the Cross Himself.
O innocent Lamb of God,
slaughtered on the trunk of the Cross,
patient at all times,
however You were scorned.
You have borne all sins,
otherwise we would have to despair.
Have mercy on us, o Jesus.
Gabrieli Players.
Chorus I:
Deborah York.
Magdalena Kozena.
Mark Padmore.
Peter Harvey.
Chorus II:
Julia Gooding.
Susan Bickley.
James Gilchrist.
Stephan Loges.
Dir. Paul McCreesh. Auteur: OedipusColoneus Tags: 244 Bach BWV Gabrieli Johann Matthaus McCreesh Passion Paul Players Sebastian Ajoutée: lundi 22 septembre 1986 23:43:20 |
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 | ?FROM
http://www.nicovideo.jp/watch/sm2072747
mp3: http://piapro.jp/a/content/?id=r4blw05466lfqwat
original video was made by wawatto,Jan 19th 2008.
?1? ?
BACH?Matthew Passion BWV244
Matthaeus Passion BWV 244
No.1
Kommt, ihr Töchter, helft mir klagen
using vocaoid Miku Hatsune
BLUE:SOPRANO
GREEN:ALTO
YELLOW:TENOR
GREY:BASS Auteur: YUKIO02225 Tags: Bach BWV244 Classical Matthew Miku Passion Ajoutée: jeudi 23 février 2012 00:07:21 |
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 | .
? #244
?ED13?
?
YouTube
¡Gracias! ¡Amigos de YouTube!
Thank you! Friends of YouTube!
Keroro ED13 LIST
http://www.youtube.com/view_play_list?p=D8E54C3EE835BE85
Thanks, Kai Yin !
. Auteur: Ani33100 Tags: keroro KeroroED13LIST ? Ajoutée: mercredi 10 mai 1905 01:00:32 |
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 | Bach's St. Matthew Passion was written in 1727. Only two of the four (or five) settings of the Passion which Bach wrote have survived; the other is the St. John Passion. The St. Matthew Passion was probably first performed on Good Friday (11 April) 1727 in the Thomaskirche in Leipzig, where Bach was the Kapellmeister. He revised it by 1736, performing it again on March 30, 1736, this time including two organs in the instrumentation.Many composers wrote musical settings of the Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26-27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly-written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.Two distinctive aspects of Bach's setting spring from his other church endeavors. One is the double-choir format, which stems from his own double-choir motets and the many such motets from other composers with which he routinely started Sunday services. The other is the extensive use of chorales, which appear in standard four-part settings, as interpolations in arias, and as a cantus firmus in large polyphonic movements, notably O Mensch, bewein dein Sünde groß, the conclusion of the first half?a movement this work has in common with his St John Passion?and the opening coro, Kommt, ihr Töchter, helft mir Klagen, in which the soprano in ripieno crowns a colossal buildup of polyphonic and harmonic tension, singing a verse of the chorale O Lamm Gottes, unschuldig.The surviving manuscripts consist of eight concertato scores, used for eight soloists who also served in the two choirs, a few extra "bit parts", and a part for the soprano in ripieno.The narration of the Gospel texts are sung by the tenor Evangelist in secco recitative accompanied only by continuo. Soloists sing the words of various characters, also in recitative; in addition to Jesus, there are named parts for Judas, Peter, two high priests, Pontius Pilate, Pilate's wife, two witnesses and two ancillae (maids), although these are not always sung by all different soloists. These "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Two duets are sung by a pair of soloists representing two simultaneous speakers, and a number of passages for several speakers, called turba (or crowd) parts, are sung by one of the two choirs. The turba passages are not recitative but are conventional metric music.The St. Matthew Passion was not heard outside of Leipzig until 1829, when Felix Mendelssohn performed an abbreviated and modified version of it in Berlin to great acclaim. Mendelssohn's revival of the St. Matthew Passion brought the music of Bach, particularly the large-scale works, to a public and scholarly attention that has persisted into the present era. Auteur: HellenicMagic Tags: 244 Baroque BWV classical era Felix J.S.B Kapellmeister Leipzig Matthaeum Matthaus Matthew Mattháus Matthäus Mendelssohn Passion SAINT St. Thomaskirche Ajoutée: dimanche 20 septembre 2037 02:55:11 |
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 | Joahnn Sebastian Bach - Matthäus Passion (BWV 244):
1. Chor I & II & Choral:
(Töchter Zion und Gläubige Seelen)
Kommt, ihr Töchter, helft mir klagen,
Sehet! - Wen? - den Bräutigam!
Seht ihn! - Wie? - als wie ein Lamm.
Sehet! - Was? - seht die Geduld,
Seht! - Wohin? - auf unsre Schuld.
Sehet ihn aus Lieb und Huld
Holz zum Kreuze selber tragen.
O Lamm Gottes unschuldig,
Am Stamm des Kreuzes geschlachtet,
Allzeit erfunden geduldig,
Wiewohl du warest verachtet.
All Sünd hast du getragen,
Sonst müßten wir verzagen.
Erbarm dich unser, o Jesu.
(Daughters of Zion and Faithful Souls)
Come, daughters, help me lament,
behold! - Whom? - the Bridegroom!
Behold Him! - How? - As a Lamb.
Behold! - What? - behold the patience,
look! - Where? - at our guilt.
See Him, out of love and graciousness
bear the wood for the Cross Himself.
O innocent Lamb of God,
slaughtered on the trunk of the Cross,
patient at all times,
however You were scorned.
You have borne all sins,
otherwise we would have to despair.
Have mercy on us, o Jesus.
otherwise we would have to despair.
Have mercy on us, o Jesus.
Collegium Vocale Gent.
Ian Bostridge.
Franz Josef Selig.
Sybilla Rubens.
Andreas Scholl.
Wener Güra.
Dietrich Henschel.
Dir. Philippe Herreweghe. Auteur: OedipusColoneus Tags: 244 Bach BWV Collegium Gent Herreweghe Joahnn Matthäus Passion Philippe Sebastian Vocale Ajoutée: samedi 28 mars 1987 14:39:52 |
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