Podcast appearances and mentions of matthew passion

As a belated 92nd birthday tribute to our beloved Elly Ameling, I offer another episode of the Elly and Johann Show which features her in the music of Johann Sebastian Bach. If you twisted my arm, I might opine that she is simply the ideal Bach soprano, and these recordings, made between 1961 and 1981, stem from her absolute prime. In this episode, the majority of the works featured (from various cantatas, oratorios, masses, and passions), are duets, with a few trios and even a quartet thrown in for good measure. Siegmund Nimsgern, Werner Krenn, Hans Sotin, Birgit Finnilä, Yvonne Minton, Helen Watts, Elisabeth Cooymans, Peter Pears, Samuel Ramey, Norma Procter, Tom Krause, Gerald English, Marga Höffgen, and Fritz Wunderlich lend their voices in harmony with our Elly. The featured recordings teeter between early period performance efforts and my preferred “full-figured Bach” performance practice. Without exception however, the style is never heavy, never thuddy, but rather gracious, flowing, and mellifluous. The episode is capped with a stunning 1966 live performance of the soprano aria from the Matthew-Passion in which Ameling, just for a moment, restores my faith in humanity. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Alien podcast serisinin son bölümünde “protezli tanrı” ve “tanrıyı oynama” argümanlarını birbiriyle çarpıştıracağız. Önce özellikle serinin Prometheus ve Covenant filmlerinde aktarılan yaratıcı ve yaratılış olguları üzerinde duracağım. Konuya felsefi taraftan bakarken araya bu konudaki bazı eğlenceli popüler kültür elementleri de serpiştireceğim. Bunu tabi ki semavi dinler üzerinden tartışma gibi bir gayem yok. Böylesi bir tartışma başka bir podcastin konusu. Bu bölümde Alien filmlerindeki yaratılış yaklaşımı sınırları içinde kalacağım. Serinin farklı filmlerinde hem antik hikayeler hem de popüler kültür ve popüler bilim üzerinden bazı referansların bu yaratılış konusu için harmanlandığını görüyoruz. Bizi kim yarattı, insan da aslında programlanan bir robottan farksız mı, evrende bizim gibi gelişmiş medeniyetler var mı, yapay zeka dediğimiz gerçek zeka olabilir mi gibi birbirinden bağımsız gibi gözüken ama ortak noktaları olan sorular, Alien filmlerinde karşımıza çıkıyor. Ben de bu yaratılış meselesini bu çerçeve içinde değerlendirmeye çalışacağım. Daha sonra protezli tanrı meselesini medeniyet ve teknoloji konusuna getireceğim. Teknoloji ve insanın kendine yabancılaşma konusuna çok genel de olsa göz atacağız.Bölüm Kapağı: Kendi çizdiğim resim (05.09.2024)09:41'deki müzik: Antonio Vivaldi - RV 420 I. Andante15:36'daki müzik: Arcangelo Corelli - Violin Sonata in G Minor, Op. 5 No. 521:15'teki müzik: Jean Baptiste Lully – Arrangement for Cello and Piano26:36'daki müzik: J.S. Bach - St. Matthew Passion, BWV 244, Pt. 2 No. 39, Aria. Erbarme dich33:13'teki müzik: Frideric Handel - Suite in D Minor, HWV 447 Allemande

Mark-Anthony Turnage is a composer of contemporary classical music. Once called “Britain's hippest composer”, he has been in a rock band, got drunk with Francis Bacon, and tackled anything from drug abuse to football in his works. Mark was born in June 1960 in the Thames estuary town of Corringham in Essex. His musical talent was nurtured by his parents and he studied composition at the junior department at the Royal College of Music from aged fourteen. There he met the composer Oliver Knussen who became his tutor, mentor, and life-long friend. His first performed work, Night Dances, written while still at the Royal College, won a prize and heralded Mark's evolution into what one critic calls “one of the best known British composers of his generation, widely admired for his highly personal mixture of energy and elegy, tough and tender”. Greek, his debut opera, a reimagining of the Oedipus myth whose protagonist is a racist, violent and foul-mouthed football hooligan, shocked the establishment, which flinched, but accepted “Turnage, the trouble-maker” as a forceful voice. Over the past four decades he has sustained a distinguished and productive career that has seen him working closely with conductors of the stature of Bernard Haitink, Esa-Pekka Salonen and, particularly, Simon Rattle. He has been attached to prestigious institutions, such as English National Opera and both the BBC and Chicago symphony orchestras, and has written a vast range of music for many different instruments and ensembles. His influences include soul, gospel, all sorts of jazz and the great symphonic works of the repertoire. He has written operas, ballets, concertos, chamber pieces and choral works together with orchestrating a football match. His key works include Three Screaming Popes and Blood on the Floor (both inspired by Francis Bacon paintings, and the latter containing an elegy for his younger brother, Andrew, who died of a drug overdose in 1995), as well as more operas including one about the former Playboy model Anna Nicole Smith. Mark lives in North London with his partner, the opera director, Rachael Hewer. DISC ONE: Symphony No. 9 in D Minor, Op. 125 II. Molto vivace - Presto - Molto vivace – Presto. Composed by Ludwig Van Beethoven and performed by The Berlin Philharmonic, conducted by Sir Simon Rattle DISC TWO: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki DISC THREE: Two Organa, Op. 27 – 1 “Notre Dame des Jouets”. Composed and conducted by Oliver Knussen and performed by The London Sinfonietta DISC FOUR: Blue in Green - Miles Davis DISC FIVE: Living for the City - Stevie Wonder DISC SIX: Puccini: Madama Butterfly, Act II: Un bel dì vedremo. Composed by Giacomo Puccini and performed by Mirella Freni (Soprano) and Wiener Philharmoniker, conducted by Herbert von Karajan DISC SEVEN: Symphony of Psalms (1948 Version): III. Alleluja. Laudate Dominum - Psalmus 150 (Vulgata) Composed by Igor Stravinsky and performed by English Bach Festival Choir and The London Symphony Orchestra, conducted by Leonard Bernstein DISC EIGHT: Let's Say We Did. Composed by John Scofield and Mark-Anthony Turnage and performed by John Scofield, John Patitucci, Peter Erskine, Frankfurt Radio Symphony, hr-Bigband and Hugh WolfBOOK CHOICE: Rebecca by Daphne du Maurier LUXURY ITEM: A grand piano and tuning kit CASTAWAY'S FAVOURITE: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki Presenter: Lauren Laverne Producer: Sarah Taylor

DescriptionThe Soulful Majesty of St. Matthew Passion in 60 Seconds. Take a minute to get the scoop!Fun FactBach's St. Matthew Passion premiered on Good Friday, April 11, 1727, at St. Thomas Church in Leipzig. Performed as part of the church service, its emotional depth and intricate structure made a lasting impression. Though initially modest in reception, it later gained recognition as one of Bach's greatest masterpieces.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Thank you for listening to our show this season!!Here are the favorite choral pieces from our guests in the fourth season:St. John Passion, Johann Sebastian BachSt. Matthew Passion, Johann Sebastian BachAve Maria, Franz BieblRequiem, Johannes Brahms“Wie lieblich sind deine Wohnungen” from Requiem, Johannes BrahmsNo Time, Susan BrumfieldI Sing Because I'm Happy, Rollo DilworthRequiem,Gabriel FauréAfrican American Requiem, Damien GeterGloucester Service, Herbert HowellsLa Guerre, Clément JanequinSweet Rivers, Shawn KirchnerO Magnum Mysterium, Morten Lauridsen (x2)Le Cantique des cantiques, Daniel-LesurCoenantibus autem illis, Juan de LienasI Am Harvey Milk, Andrew LippaMiserere, James MacMillanMass for Double Choir, Frank MartinTerza Messa, Marianna MartinesLight of the East, Byung-Hee OhSicut Cervus, Giovanni Pierluigi da PalestrinaTu Es Petrus, Giovanni Pierluigi da PalestrinaThe Road Home, Stephen PaulusLet My Love Be Heard, Jake RunestadAbendfeier in Venedig, Clara SchumannAnd the Swallow, Caroline ShawFiddler's Hymn, Pete SutherlandAlleluia, Randall ThompsonEarth Song, Frank TicheliThe Sacred Veil, Eric WhitacreSerenade to Music, Ralph Vaughan WilliamsHere are the composers that our guests suggested you check out:Johann Sebastian BachMichael Barrett, see Choir Fam Episode 97Amy BernonSherry BlevinsMargaret BondsJohannes BrahmsSamuel Coleridge-TaylorChiara Margarita CozzolaniMaurice DurufléGabriel FauréDan ForrestJ.D. Frizzell, see Choir Fam Episode 91Katerina GimonLaura HawleyFranz Joseph HaydnDarius LimAndrew LippaCecilia MacDowallJoanna MarshFrank MartinSelga MenceKyle PedersonFlorence PriceZanaida Robles (x2)Marie-Claire SaindonCaroline ShawKen Steven (x2), see Choir Fam Episode 98Peteris VasksTracy Wong (x3), see Choir FamEpisode 58Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels

On this episode of The Hillsdale College Online Courses Podcast, Jeremiah and Juan (and a very special guest) discuss the genius of Johann Sebastian Bach before introducing Dr. Hyperion Knight. In “The History of Classical Music,” concert pianist and Hillsdale College Distinguished Fellow Hyperion Knight explains how music has developed and what distinguishes the greatest musical achievements through the life of Beethoven. Join this course, whether you are a music novice or an aficionado of the classical style, to learn what makes music great. The Baroque Era saw the emergence of musical genius in composition and virtuosity in performance. Significant pieces discussed include Vivaldi's Four Seasons, Handel's Messiah, and Bach's Brandenburg Concertos, St. Matthew Passion, and fugues.See omnystudio.com/listener for privacy information.

On this episode of The Hillsdale College Online Courses Podcast, Jeremiah and Juan (and a very special guest) discuss the genius of Johann Sebastian Bach before introducing Dr. Hyperion Knight. In “The History of Classical Music,” concert pianist and Hillsdale College Distinguished Fellow Hyperion Knight explains how music has developed and what distinguishes the greatest musical achievements through the life of Beethoven. Join this course, whether you are a music novice or an aficionado of the classical style, to learn what makes music great. The Baroque Era saw the emergence of musical genius in composition and virtuosity in performance. Significant pieces discussed include Vivaldi's Four Seasons, Handel's Messiah, and Bach's Brandenburg Concertos, St. Matthew Passion, and fugues.See omnystudio.com/listener for privacy information.

The beloved Irish soprano Heather Harper died at the age of 88 on 22 April 2019 in London. In music ranging from the Baroque through the modern eras, she displayed an easy mastery as did very few others, as well as a radiant voice and demeanor that made her a favorite collaborator of some of the greatest conductors and composers of the Twentieth Century. Perhaps no other singer matched her accomplishment within such a wide range of styles. This episode was originally published as an addendum to an episode I published in the second season of Countermelody. It highlights Heather Harper in two Richard Strauss roles, Ariadne and the Kaiserin; and features two works which she created, Elizabeth Maconchy's setting of Cecil Day-Lewis's dramatic monologue Ariadne, premiered in 1971, and Michael Berkeley and Ian McEwan's searing 1983 oratorio Or Shall We Die? Harper is also featured in rare recordings of repertoire ranging from Monteverdi to Busoni; Offenbach to Dallapiccola. A forgotten 1964 recording of Harper's transcendent reading of “Aus Liebe will mein Heiland sterben” from Bach's St. Matthew Passion rounds off the episode. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Opening Song: All Your Works are Good (https://open.spotify.com/track/4ruszcUTkL45zpEACGBToj?si=e57b36673c86421c) by ​​Jill Gullahorn, Julie Lee, and Sandra McCracken Lyrics: The moon it marks the seasons The sun knows when to go down The ocean holds its creatures The river knows its bounds The birds the trees the cattle And all things great and small We find our place in creation Your hand sustains us all All Your works are good All Your works are good From everlasting to everlasting All Your works are good He makes the clouds His chariot He wraps Himself in light He stretches out the heavens Like a tent across the sky He knows our every burden When darkness veils our eyes He comes with spring returning Bringing death to life As we labor until evening There's a message on the wind Be still and know your maker Be satisfied in Him Passage: My soul, bless the Lord! Lord my God, you are very great; you are clothed with majesty and splendor. 2 He wraps himself in light as if it were a robe, spreading out the sky like a canopy, 3 laying the beams of his palace on the waters above, making the clouds his chariot, walking on the wings of the wind, 4 and making the winds his messengers, flames of fire his servants. 5 He established the earth on its foundations; it will never be shaken. 6 You covered it with the deep as if it were a garment; the water stood above the mountains. 7 At your rebuke the water fled; at the sound of your thunder they hurried away — 8 mountains rose and valleys sank — to the place you established for them. 9 You set a boundary they cannot cross; they will never cover the earth again. -- Psalms 104:1-9 (CSB) 24 How countless are your works, Lord! In wisdom you have made them all; the earth is full of your creatures. -- Psalms 104:24 (CSB) 35 May sinners vanish from the earth and wicked people be no more. My soul, bless the Lord! Hallelujah! -- Psalms 104:35 (CSB) Musical Reflection: O Sacred Head Now Wounded by Hans Leo Hassler Reflection Notes: This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity. Prayer:

Ed Lyon is an internationally recognised tenor who enjoys a career in a wide range of repertoire from the Baroque to contemporary music, and performs in many of the major opera houses and concert platforms around the world. He is also a therapist, who specialises in helping people in the classical music industry deal with its unique challenges.  Last month, I played in a concert of Bach's St. Matthew Passion where Ed was singing the role of the Evangelist. The concert also featured the St. Albans Bach Choir and Sinfonia Verdi Orchestra, conducted by Andrew Lucas. A few weeks after the concert, I met Ed in London to talk more about the day, as well as his work and approaches as a singer and therapist.  Among the topics we discuss include: what can be the impact of therapeutic techniques for classical musicians; identity as a classical musician; performance anxiety; the importance of creating a safe environment in rehearsals and performance; cultivating your mindset as a performer; and Ed's approach to the role of the Evangelist. I was moved by how openly Ed spoke about his own experiences. It was also really insightful to understand classical music performance within psychological and therapeutic frameworks. Thank you so much Ed for taking the time to speak, and also to Ed Maitland Smith at the Barbican Centre for kindly hosting and providing us with a room. Check out their season for the rest of this year and next! - https://edlyon.info https://www.edlyon-therapy.co.uk - --- Send in a voice message: https://podcasters.spotify.com/pod/show/talking-classical-podcast/message

James Runcie's novel, The Great Passion, imagines a year in the life of Johann Sebastian Bach, culminating with the first performance of his St. Matthew Passion in Leipzig, Germany during Easter 1727. Told through the eyes of a fictional, 13-year-old student, it explores the man behind the legendary composer: an ambitious working musician and father of eight, coping with grief and loss, through faith and music. This interview originally aired June 12, 2022.

Opening Song: Psalm 22 (https://open.spotify.com/track/1KP4dy5hNaKe4aWfvidbFm?si=21e404e938be428a)by Greg LaFollette Lyrics: My God my God why have you forsaken me My God my God why have you forsaken me You promised me that you would never leave I'm crying out but you are not listening I'm crying out but you withhold your peace from me You promised me that you would never leave He trusts in the Lord all the mockers say So let God deliver him since he loves him My God my God why have you forsaken me My God my God why have you forsaken me You promised me that you would never leave You promised me that you would never leave You promised me that you would never leave Let God deliver him since he loves him Passage: 1 My God, my God, why have you forsaken me? Why are you so far from saving me, from the words of my groaning? 2 O my God, I cry by day, but you do not answer, and by night, but I find no rest. 3 Yet you are holy, enthroned on the praises of Israel. 4 In you our fathers trusted; they trusted, and you delivered them. 5 To you they cried and were rescued; in you they trusted and were not put to shame. 6 But I am a worm and not a man, scorned by mankind and despised by the people. 7 All who see me mock me; they make mouths at me; they wag their heads; 8 “He trusts in the LORD; let him deliver him; let him rescue him, for he delights in him!” 9 Yet you are he who took me from the womb; you made me trust you at my mother's breasts. 10 On you was I cast from my birth, and from my mother's womb you have been my God. 11 Be not far from me, for trouble is near, and there is none to help. (Psalm 22:1-11 ESV) Musical Reflection: O Sacred Head Now Wounded by Hans Leo Hassler Reflection Notes: This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity. Prayer: I have no other helper than you, no other father, no other redeemer, no other support. I pray to you. Only you can help me. My present misery is too great. Despair grips me, and I am at my wits' end. I am sunk in the depths, and I cannot pull myself up or out. If it is your will, help me out of this misery. Let me know that you are stronger than all misery and all enemies. O Lord, if I come through this, please let the experience contribute to my and my brothers' blessing. You will not forsake me; this I know. Amen. (A prayer from a young Ghanian Christian. Taken from I Lie on My Mat and Pray.)

Here we do a full "Bach-n-talk" runthrough of the famous "O Mensch, bewein" chorale fantasia which ends the first half of the St. Matthew Passion, which happens to end on Alex's favorite moment.  Join us as we unpack a moment of mode mixture here, at the choir's closing cadence.  The borrowed minor modality gives the necessary spice to give a more complex flavor to the otherwise light and airy music.  But don't be fooled, listener, into thinking the woodwind parts are all just fluff.  They carry a darker undertone in the meaning of this music.  Remember: the flute's not cute. "O Mensch, bewein dein Sünde groß" from St. Matthew Passion performed by the Netherlands Bach Society Different version of "O Mensch, bewein dein Sünde groß" as mentioned in this episode; from the 1725 revision of St. John Passion, also performed by Netherlands Bach Society

SynopsisOn today's date in 1829, a 20-year-old German composer named Felix Mendelssohn conducted the first public performance of Johann Sebastian Bach's St. Matthew Passion in almost a hundred years. Earlier, Mendelssohn had written to a friend:“You may know from the papers that I intend to perform the Passion, by Sebastian Bach, a very beautiful and worthy piece of church music from the last century, on March 11 at the Berlin Academy of Music. I ask if it would be possible for you to grant us the pleasure of your company that evening ... to honor an old master and dignify our celebration by your presence.”Mendelssohn's 1829 performance sparked a revival of interest in Bach's music, generally considered too unmelodic, mathematical, dry and incomprehensible for the audiences in Mendelssohn's day. It really took some doing for Mendelssohn to pry the score of Bach's Passion from the Berlin musician who owned it, and who said it was a total waste of time to perform such an outmoded, unfashionable piece of music.But, in fact, the performance was so well received that Bach's Passion was performed again 10 days later, to even greater acclaim, on March 21, the anniversary of Bach's birth.Music Played in Today's ProgramJohann Sebastian Bach (1685-1750): St. Matthew Passion; Netherlands Bach Society; Amsterdam Baroque Orchestra; Ton Koopman, cond.

Dr. Christopher Jackson, Artistic Director and Conductor of the Bach Choir of Bethlehem, speaking about the 2023 Gala Anniversary Concert on Saturday, November 4, 2023, at Packer Memorial Church at Lehigh University in Bethlehem. PA, at 3:00, to mark the group's 125th anniversary. Performing will be the Bach Choir & Bach Festival Orchestra & national soloists, all under Dr. Jackson's direction. Featured will be the world premiere of a new scholarly edition of the Bach St. Matthew Passion in the version by Felix Mendelssohn. The concert will be recorded for general release. There will be a reception and dinner to follow as a benefit for the Choir. www.bach.org/

Synopsis On today's date in 1723, Johann Sebastian Bach began his formal duties as the new Cantor of the St. Thomas School in Leipzig, a city that would remain his home for the next 27 years. A newspaper item datelined Leipzig had appeared the previous day, noting: "This past Saturday at noon, four wagons loaded with household goods arrived here from Cöthen; they belonged to the former Princely Cappelmeister Johann Sebastian Bach, now called to Leipzig as Cantor. He himself arrived with his family on two carriages at 2 o'clock and moved into the newly renovated apartment in the St. Thomas School." Bach was not the first choice for the appointment, and it's clear from the proceedings of the Leipzig Town Council that they were more concerned with Bach as a teacher rather than Bach as a composer. Providing quality music for services at St. Thomas Church might have been foremost in Bach's mind, but the council seemed to think that was definitely not as important as teaching Latin to the young students of the St. Thomas School. One council member, a certain Dr. Steger, after reluctantly voting for Bach, even wanted it on record that in his opinion, (quote) "Bach should make compositions that were NOT theatrical." It's not on record what poor Dr. Steger thought of Bach's intensely dramatic St. Matthew Passion, or the hundreds of brilliant crafted cantatas that Bach would provide, week in and week out, for the next 20 years. Music Played in Today's Program J.S. Bach (1685 - 1750) Cantata No. 73 Leonhardt Consort; Gustav Leonhardt, conductor. Teldec 44279

Thank you for listening to our show this season!!Here are the favorite choral pieces from our guests in the second season:Even When He Is Silent, Kim André ArnesenSt. Matthew Passion, Johann Sebastian BachChichester Psalms, Leonard BernsteinPrayer of the Children, Kurt Bestor, arr. Andrea KlouseAve Maria, Franz Biebl (x2)Ein Deutsches Requiem, Johannes BrahmsGeistliches Lied, Johannes BrahmsHymn to St. Cecilia, Benjamin BrittenPamugun, Francisco FelicianoFlight, Matthew Lyon HazardNunc Dimittis, Gustav HolstLittle Child, Robert KechleyO Magnum Mysterium, Morten LauridsenSure on  This Shining Night , Morten Lauridsen (x2)There Is a King in You, Donald LawrenceMass for Double Choir, Frank MartinJauchzet dem Herrn, Felix MendelssohnCoronation Mass, Wolfgang Amadeus MozartThe Ecstasies Above, Tarik O'ReganThe Beatitudes, Arvo PärtThe Nightingale, Uģis PrauliņšGod Will Give Orders/Sweet Child, Sarah QuartelLoch Lomond, Jonathan QuickVigilia, Einojuhani RautavaaraPeace of Wild Things, Jake RunestadOmnia Sol, Z. Randall StroopeIf Ye Love Me, Thomas Tallis Moonlight Sound Design, Raimonds Tiguls Baba Yetu, Christopher TinThe Lost Birds, Christopher TinTo See It (from How to Go On), Dale TrumboreGive Over Thine Own Willing, Gwyneth WalkerSt. Martin de Porres, Mary Lou WilliamsHere are the composers that our guests suggested you check out:Nilo Alcala (see Choir Fam Episode 26)Elizabeth AlexanderJuhi BansalCarol BarnettHildegard von BingenDan BukvichDave CazierSaunder ChoiJennifer Lucy CookViet CuongMelissa DunphyReena Esmail (see Choir Fam Episode 50)Francisco FelicianoKirk FranklinAdolphus HailstorkAdam de la HalleChristopher HarrisVictor C. JohnsonCristian LariosDonald LawrenceMark A. MillerUndine Smith MooreKrzysztof PendereckiRosephanye PowellSarah QuartelMarek RaczyńskiHeinrich SchützJoan SzymkoKaren ThomasDylan TrầnVeljo TormisDale Trumbore (x3, See Choir Fam Episode 16)Reginald Unterseher (See Choir Fam Episode 38)Patrick Vu Mary Lou Williams (x2)Tracy WongReginal Wright (See Choir Fam Episode 48)Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from PexelsChoir Fam wants to hear from you! Check out the Minisode Intro episode from September 16, 2022, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.

Sometimes the most meaningful moment is the in-between. After learning that one of them would betray Jesus, the disciples (Choir 1 in the St. Matthew Passion) all clamor to exclaim: "Lord, is it me?" We pause. Christ doesn't answer immediately. We know the answer. Both choirs admit: "It is me whose sin binds you." This chorale response which follows the bible passage shows that the answer is more than just Judas.   These pauses between are often profound, introspective, or even crushingly sad. The second moment in this episode is one of contrite pleading after the Erbarme Dich aria and before a penitent chorale. The third is the stark silence of the moment after Christ's death.  For Bach the expert storyteller, these transitions have an essential power of their own.   Moment 1 Moment 2 Moment 3 Thank you listener Dave for inspiring the concept for this episode, and suggesting the second moment. Special thanks to the Netherlands Bach Society for the use of the audio examples and links to video examples. 

A lecture given at L'Abri Fellowship in Southborough, Massachusetts. For more information, visit https://southboroughlabri.org/ by Adam Kurihara Choral music for Holy Week is saturated with a dissonant beauty that reflects the affliction of Chris. We will walk through several key pieces listening and learning about what makes this music so compelling. Learn how musical rhetoric (communicating concrete ideas through musical themes), structure and form, and melody and harmony draw us into the story of Jesus' crucifixion. Our time will be spent primarily with Bach's St. Matthew Passion, as well as Victoria's "O Vos Omnes" and Mozart's "Ave Verum Corpus". Join us for this listening party as we explore choral music for Holy Week. The Copyright for all material on the podcast is held by L'Abri Fellowship. We ask that you respect this by not publishing the material in full or in part in any format or post it on a website without seeking prior permission from L'Abri Fellowship. ©Southborough L'Abri 2023

An artist whose singing has been with me throughout my entire life journey is Dutch soprano Elly Ameling, who on February 8 celebrated her 90th birthday. Ameling was most celebrated as a singer of art song, and justly so, but another repertoire she performed with particular grace and aplomb was the music of the baroque, specifically the music of Johann Sebastian Bach. This, the first of a pair of Ameling episodes planned for this season, presents her exclusively in that repertoire, in live performances and recordings over the course of her career's prime, from the mid-sixties through the mid-eighties. I have chosen to focus on three works which she performed frequently and for which we have more than one recorded example extant: Cantata 51, “Jauchzet Gott in allen Landen”; Cantata 202, “Weichet nur,” the so-called Wedding Cantata; and the St. Matthew Passion. I feature extended excerpts from each of these works as well as a smattering of Ameling performances of other Bach works, as well a song once wrongly attributed to Bach, “Bist du bei mir.” Throughout this episode, Ameling's key artistic virtues are on full display: a crystalline voice of ineffable purity; an impeccable vocal technique that encompassed long-limbed cantilena as well as rapid-fire coloratura; and a verbal acuity that, even in such technically challenging music, always put the words first and foremost. She is the ideal Bach singer, and, dare I say it, maybe the finest Bach soprano that ever lived. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

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. It sets the 26th and 27th chapters of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the greatest masterpieces of Baroque sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew".Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Bach's St Matthew Passion is one of the most profound and popular choral works with many diverse interpretations of record to choose from, and Joseph McHardy joins Andrew McGregor to recommend his favourite.

Opening Song: Drive Out the Darkness (https://open.spotify.com/track/2wvTmH3hGUGztde4DZeBgB?si=7519001e0ddf48b9) by Dan Marotta, Isaac Wardell, John Swinton, and Paul Zach Lyrics: Come O come be our light Drive out the darkness Come Jesus come Ev'ry year under the thorn Ev'ry wrong that we have known Ev'ry valley will be raised The ancient ruins will be remade Ev'ry weapon made for war Ev'ry gun and ev'ry sword Will be melted in the flame To be used for gardening In the emptiness of grief Through the night of suffering Ev'ry loss and in the tears God our comfort O be near Come O come be our light Drive out the darkness Come and end all the violence Come and do not be silent Come we cling to Your promise Come You'll break all injustice Come Jesus come Passage: 1 The oracle that Habakkuk the prophet saw. 2 O Lord, how long shall I cry for help, and you will not hear? Or cry to you “Violence!” and you will not save? 3 Why do you make me see iniquity, and why do you idly look at wrong? Destruction and violence are before me; strife and contention arise. 4 So the law is paralyzed, and justice never goes forth. For the wicked surround the righteous; so justice goes forth perverted. 5 “Look among the nations, and see; wonder and be astounded. For I am doing a work in your days that you would not believe if told. 6 For behold, I am raising up the Chaldeans, that bitter and hasty nation, who march through the breadth of the earth, to seize dwellings not their own. 7 They are dreaded and fearsome; their justice and dignity go forth from themselves. 8 Their horses are swifter than leopards, more fierce than the evening wolves; their horsemen press proudly on. Their horsemen come from afar; they fly like an eagle swift to devour. 9 They all come for violence, all their faces forward. They gather captives like sand. 10 At kings they scoff, and at rulers they laugh. They laugh at every fortress, for they pile up earth and take it. 11 Then they sweep by like the wind and go on, guilty men, whose own might is their god!” Habakkuk's Second Complaint 12 Are you not from everlasting, O Lord my God, my Holy One? We shall not die. O Lord, you have ordained them as a judgment, and you, O Rock, have established them for reproof. 13 You who are of purer eyes than to see evil and cannot look at wrong, why do you idly look at traitors and remain silent when the wicked swallows up the man more righteous than he? Habakkuk 2:1-4 1 I will take my stand at my watchpost and station myself on the tower, and look out to see what he will say to me, and what I will answer concerning my complaint. The Righteous Shall Live by His Faith 2 And the Lord answered me: “Write the vision; make it plain on tablets, so he may run who reads it. 3 For still the vision awaits its appointed time; it hastens to the end—it will not lie. If it seems slow, wait for it; it will surely come; it will not delay. 4 “Behold, his soul is puffed up; it is not upright within him, but the righteous shall live by his faith.[a] Musical Reflection: O Sacred Head Now Wounded by Hans Leo Hassler Reflection Notes: This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity. Prayer: This is another day, O Lord. I know not what it will bring forth, but make me ready, Lord, for whatever it may be. If I am to stand up, help me to stand bravely. If I am to sit still, help me to sit quietly. If I am to lie low, help me to do it patiently. And if I am to do nothing, let me do it gallantly. Make these words more than words, and give me the Spirit of Jesus. Amen.

Sometimes a musical work of art is so perfect, so magnificent, that it's almost impossible to remember the work that's gone on, behind the scenes, from the early drafts to the anxiety and relief of the first performance. That's certainly true of a masterpiece such as Bach's St Matthew Passion. But writer James Runcie wants us to think about what went on in Bach's mind while he was creating that magnificent Passion, and he's written both a play and a novel about it. The novel, his twelfth, is called The Great Passion and it was published earlier this year; it was also broadcast on Radio 4 just before Easter. James is an award-wining film-maker, playwright and artistic director who has worked at the BBC, the Bath Literary Festival and Southbank Centre. He's also the author of the Grantchester detective novels, now filming their eighth series for television. The hero's a young priest, who solves crimes while wrestling with problems of religious faith - and religion is something James Runcie knows all about, as his father was Archbishop of Canterbury. In conversation with Michael Berkeley, James Runcie talks about the influence of his father, and of his unconventional mother, who was a pianist and piano teacher; in their household, he says, religion was optional, but music was compulsory. He shares his passion for the works of Bach in three of his choices, including the Matthew Passion. And he talks movingly about the death of his wife, the drama director Marilyn Imrie, from Motor Neurone Disease. When she was no longer able to speak, he played her music. A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke

Thank you for listening to our show this season!!Here are the favorite choral pieces from our guests in the first season: Even When He Is Silent, Kim André ArnesenThe Gift I Leave You, Kim André ArnesenBist du bei mir, J. S. BachDer Geist hilft unsrer Schwachheit auf, J. S. BachSt. Matthew Passion, J. S. BachWarrior, Kim BarylukChichester Psalms, Leonard BernsteinHymn to St. Cecilia, Benjamin BrittenWar Requiem, Benjamin BrittenIn the Beginning, Aaron Copland (x2)Ka Huliau ‘Ana, Palani Vaughan, arr. Randie FongOn the Strangest Sea, Daniel HallO Magnum Mysterium, Morten LauridsenBe Not Afraid, Knut NystedtThreshold of Night, Tarik O'ReganThe Road Home, Stephen PaulusTo Touch the Sky (Mvt. 9: Most Noble Evergreen), Kevin PutsBogoroditse Devo, Sergei RachmaninoffGospel Mass, Robert RayLet My Love be Heard, Jake Runestad (x2)Concerto for Choir, Alfred SchnittkeSymphony of Psalms, Igor StravinskyPath of Miracles, Joby Talbot (x2)Sea Symphony, Ralph Vaughan WilliamsAs Vesta Was from Latmos Hill Descending, Thomas WeelkesA Boy and a Girl, Eric WhitacreCloudburst, Eric WhitacreLeonardo Dreams of His Flying Machine, Eric WhitacreHere are the composers that our guests suggested you check out:Amy F. BernonAbbie BetinisB. E. Boykin (x2)Maddalena CasulanaWilliam DawsonAshi DayRob DietzMelissa DunphyAntonin DvorakĒriks EšenvaldsReena EsmailLaura FarnellRyan GundersonJocelyn HagenElaine HagenbergBo HoltenDavid LangUndine Smith MooreMaryAnne MugliaKyle PedersonRosephanye PowellSarah QuartelZanaida Robles Kentaro SatoMoira SmileyIngrid StölzelZ. Randall StroopeJoby TalbotRandall ThompsonDale TrumboreGwyneth WalkerTracy WongManuel de ZumayaEmail choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels

Synopsis Two or three days after his death on July 28, 1750, the final rites were held in Leipzig, in St. John's Church, for Johann Sebastian Bach, considered by many the greatest composer who ever lived. Bach was buried in the churchyard of St. John's. In 1894, his remains were discovered during excavations and were reburied inside. Although not unappreciated in his lifetime, and not completely forgotten for nearly a century as myth would have it (Mozart and Beethoven both revered him), it's true that Bach's real stature was not fully recognized by the wider public until Felix Mendelssohn's famous revival performance of Bach's “St. Matthew Passion” in Berlin in 1829. And since Mendelssohn's 19th century revival, Bach's Passion settings and cantatas have been staged as operas or ballets in the 20th and 21st. His music has survived arrangements for solo piano, full symphony orchestra, Moog synthesizer, authentic “period” instruments, Japanese koto orchestra, shakuhachi flute, and the various jazz stylings of the Swingle Singers and the late pianist of the Modern Jazz Quartet, John Lewis. However it was adapted or altered by the passing fashion or fads of the day, Bach's music continues to touch whoever plays it or listens to it. Music Played in Today's Program J. S. Bach (1685-1750) – St. Matthew Passion (SW German Madrigal Chorus; Wolfgang Gönnenwein, cond.) EMI Classics 79544 J. S. Bach (1685-1750) (arr. Chris Brubeck) – Variations on Themes by Bach (Joel Brown, guitar; London Symphony; Joel Revzen, cond.) Koch International 7485

En Julia confluyen muchas de las cosas que nos gustan; la mujer, el cuerpo, la identidad, la carne... Te invitamos a escuchar nuestra visión personal de Ducournau. Equipo Maniático: Albert San (Mr. Maniático), Naila Knight, Miguel y Montse Vela. Saludos Maniáticos!!!!!! Intro Musical SINOIA CAVES “1983 Main Titles” Album Beyond the Black Rainbow (2014) "On My Mind" by Pascal Schumacher "Plus putes que toutes les putes" by Orties "Doing It to Death" by The Kills "She's Not There" The Zombies "Wayfaring Stranger" by Jim Williams Performed by Lisa Abbot "St. Matthew Passion, BWV 244 / Part One No.1 Chorus I/II: Kommt, Ihr Tochter, Helft Mir Klagen" by Johann Sebastian Bach "Light House" by Future Islands Raw & Titane (Original Motion Picture Soundtrack) by Jim Williams

Opening Song: Man of Sorrows (https://open.spotify.com/track/0QcK7XUiGoMs2YKN7zwIhh?si=748d13d02817497a) by Drew and Ellie Holcomb Lyrics: Lord You're weeping with me help me to believe That when my heart is heavy as a stone You say I'm not alone Man of sorrows what a name Bore our suffering bore all of our pain Man of sorrows broken sinners to reclaim Overcame the darkness and walked out of the grave (Overcame my darkness When You walked out of the grave) Lord You're aching with me help me to believe That when my soul is lost in the storm You're acquainted with my grief He was pierced for our transgressions He was crushed for all our sins And the punishment that brought us peace Was laid on Him He was stricken and afflicted But God's mercy would reveal What His suffering would bring us By His wounds we're healed Passage: 8 On that day the Lord will protect the inhabitants of Jerusalem, so that the feeblest among them on that day shall be like David, and the house of David shall be like God, like the angel of the Lord, going before them. 9 And on that day I will seek to destroy all the nations that come against Jerusalem. Him Whom They Have Pierced 10 “And I will pour out on the house of David and the inhabitants of Jerusalem a spirit of grace and pleas for mercy, so that, when they look on me, on him whom they have pierced, they shall mourn for him, as one mourns for an only child, and weep bitterly over him, as one weeps over a firstborn. On that day there shall be a fountain opened for the house of David and the inhabitants of Jerusalem, to cleanse them from sin and uncleanness. (Zech 12:8-10,13:1 ESV) Musical Reflection: O Sacred Head Now Wounded by Hans Leo Hassler Reflection Notes: This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity. Prayer: Father, what we know not, teach us; what we have not, give us; what we are not, make us; for the sake of your Son our Savior. Amen. -Old Anglican Prayer

Composer Kian Ravaei joins us this week as guest and shares with us the powerful spiritual connection points that Bach has made recently in his life in this interview.  Kian describes the power that the music of Wachet auf, ruft uns die Stimme (cantata 140), the St. Matthew Passion, and the collected chorales have had on him. We discuss the particular powers of Bach's music to move us spiritually, give us autonomy as a listener, inspire us to meaningfully create in times of hardship and times of grief, and guide us to compose with proper technique. Thanks Kian for sharing your story with us on our podcast!  As Kian notes, the "Wachet auf" cantata centers on the story of the wise and the foolish bridesmaids -- a parable about being ready. The bridesmaids (us) await the groom (Jesus Christ). The most famous moment is the middle chorale verse sung by the tenors, but at the end of this interview we will play for you the Netherlands Bach Society recording of the closing chorale which summarizes our interview and the meaningfulness of the chorales to us composers.  Cantata 140: https://www.youtube.com/watch?v=DqZE54i-muE St. Matthew Passion: https://youtu.be/ZwVW1ttVhuQ 

James Runcie's latest novel, The Great Passion, imagines a year in the life of Johann Sebastian Bach, culminating with the writing and first performance of his St. Matthew Passion in 1727. Told through the eyes of a fictional, 13-year-old student, it explores the man behind the legendary composer: an ambitious working musician and father of eight, coping with grief and loss, through faith and music. Runcie is also the author of the popular Grantchester Mystery series.

J.S. Bach composed his St. Matthew Passion in 1727. But for the better part of a century after that, the piece essentially disappeared, unknown to all but a few specialists.

Charlie Thomson from St Marks Church, Battersea Rise on 27/04/2014

Bach.

New Scripture for Today Podcast! Click here: https://sft.fireside.fm Opening Song: O Sacred Head Now Wounded by Bernard of Clairvaux, Gregg Sewell, James Waddell Alexander and Paulus Gerhardt, arranged by Fernando Ortega (https://open.spotify.com/track/57CCLOlx2dqnSynxfjaJYb?si=94ad1380d45a40b0) Lyrics: O sacred Head now wounded With grief and shame weighed down Now scornfully surrounded With thorns Thine only crown How pale Thou art with anguish With sore abuse and scorn How does that visage languish Which once was bright as morn What Thou my Lord has suffered Was all for sinners' gain Mine mine was the transgression But Thine the deadly pain Lo here I fall my Savior 'Tis I deserve Thy place Look on me with Thy favor Assist me with Thy grace What language shall I borrow To thank Thee dearest Friend For this Thy dying sorrow Thy pity without end O make me Thine forever And should I fainting be Lord let me never never Outlive my love to Thee Passage: 5 Have this mind among yourselves, which is yours in Christ Jesus, 6 who, though he was in the form of God, did not count equality with God a thing to be grasped, 7 but emptied himself, by taking the form of a servant, being born in the likeness of men. 8 And being found in human form, he humbled himself by becoming obedient to the point of death, even death on a cross. 9 Therefore God has highly exalted him and bestowed on him the name that is above every name, 10 so that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, 11 and every tongue confess that Jesus Christ is Lord, to the glory of God the Father. (Philippians 2:5–11 ESV) Musical Reflection: O Sacred Head Now Wounded by Hans Leo Hassler Reflection Notes: This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity. Prayer: Almighty and everlasting God, in your tender love for us you sent your Son our Savior Jesus Christ to take upon himself our nature, and to suffer death upon the Cross, giving us the example of his great humility: Mercifully grant that we may walk in the way of his suffering, and come to share in his resurrection; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

Opening Song: O Sacred Head Now Wounded by Bernard of Clairvaux, Gregg Sewell, James Waddell Alexander and Paulus Gerhardt, arranged by Fernando Ortega (https://open.spotify.com/track/57CCLOlx2dqnSynxfjaJYb?si=94ad1380d45a40b0) Lyrics: O sacred Head now wounded With grief and shame weighed down Now scornfully surrounded With thorns Thine only crown How pale Thou art with anguish With sore abuse and scorn How does that visage languish Which once was bright as morn What Thou my Lord has suffered Was all for sinners' gain Mine mine was the transgression But Thine the deadly pain Lo here I fall my Savior 'Tis I deserve Thy place Look on me with Thy favor Assist me with Thy grace What language shall I borrow To thank Thee dearest Friend For this Thy dying sorrow Thy pity without end O make me Thine forever And should I fainting be Lord let me never never Outlive my love to Thee Passage: 5 Have this mind among yourselves, which is yours in Christ Jesus, 6 who, though he was in the form of God, did not count equality with God a thing to be grasped, 7 but emptied himself, by taking the form of a servant, being born in the likeness of men. 8 And being found in human form, he humbled himself by becoming obedient to the point of death, even death on a cross. 9 Therefore God has highly exalted him and bestowed on him the name that is above every name, 10 so that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, 11 and every tongue confess that Jesus Christ is Lord, to the glory of God the Father. (Philippians 2:5–11 ESV) Musical Reflection: O Sacred Head Now Wounded by Hans Leo Hassler Reflection Notes: This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity. Prayer: Almighty and everlasting God, in your tender love for us you sent your Son our Savior Jesus Christ to take upon himself our nature, and to suffer death upon the Cross, giving us the example of his great humility: Mercifully grant that we may walk in the way of his suffering, and come to share in his resurrection; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

O Sacred Head Now Wounded....Originally a Latin poem from the 1200's, a tune was added, then translated to German, re-harmonized by a famous Baroque composer, and eventually translated to English... we finally see this poem in American hymnals after the year 1829.This hymn took quite the journey to get to us and it's all focused on Jesus's crucifixion. His journey to the cross was the greatest event in human history and his resurrection is the greatest miracle in history! We are so happy to be talking about this hymn this week.Here are some of the things we mention in the podcast:Raluca BojorRaluca Bojor on YouTubeYou can find Raluca on Instagram at @raluca.bojor.musicVillers AbbeySt. Matthew Passion by JS BachFifth Avenue Presbyterian ChurchThe Alexander PolynomialFive Classy LassiesThank you for listening and supporting Hymn Talk Twin Talk. To enter our GIVEAWAY with Raluca Bojor, please find us on social media!May God bless you during this Holy Week.In His Service,Kerrie and Kellie#hymntalktwintalkPsalm 104:33Facebook: Hymn Talk Twin TalkTwitter: @hymntalkInstagram: @hymntalktwintalkEmail: hymntalktwintalk@gmail.comPodcast Hosting Site: www.redcircle.com/shows/hymn-twin-talk

During the Lenten Season, we will listen to St Matthew's Passion, one of Bach's greatest works. Part Five - Matthew 27:27-66 We see our Lord's crucifixion and death. This episode is extended to complete the Passion.

What defines a choral passion - and can they still be performed within a worship service today? Of course! A passion is in its most basic form a musical setting for God's Word. In this bonus episode, we have some ideas for how a congregation can still use the idea behind Bach's St. Matthew Passion to beautify their Holy Week and Good Friday services today.

Next Sunday, Palm Sunday, April 10 and then Good Friday, April 15 Deacon Rick Erickson and the Bach Society will present the St. John Passion, which Bach wrote for a Good Friday service. 

Bu bölümünde Ukrayna ve Rusya savaşı üzerinden gündemdeki bazı konuları değerlendirmeye çalışıyorum. Aslında insanlık tarihi hiçbir zaman bir barış atmosferinde olmadı. Bu durum 2. Dünya Savaşı'ndan sonra da farklı değildi. Bu yüzden öncelikle yakın savaş tarihine kısa bir yolculuk yapacağız. Buradan yola çıkarak Ukrayna'da yaşananlara rasyonel perspektiften bakma çabasının bir noktadan sonra savaşı, ölümleri ve şiddeti meşrulaştırma noktasına nasıl ilerlediğini tartışacağım. Daha sonra savaş ve coğrafya üzerinde duracağı. En sonunda da Zygmund Bauman, Otto Hirchman gibi düşünürlerin görüşleri üzerinden toplum ve savaş arasındaki ilişkiye bakacağım. Bölüm Kapağı: Thomas Cole - The Course of Empire (Destruction Painting, 1833) 11:27'deki müzik: Beethoven - Moonlight Sonata 23:57'deki müzik: J.S. Bach St. Matthew Passion, BWV 244 Part Two - No.47 Erbarme dich, mein Gott 35:32'deki müzik: Erik Satie - Gnossienne No.3

During the Lenten Season, we will listen to St Matthew's Passion, one of Bach's greatest works. Part Four - Matthew 27:1-26 We see our Lord's trial before Pilate, and end with his flagellation, with a reminder of the Lord's Supper.

During the Lenten Season, we will listen to St Matthew's Passion, one of Bach's greatest works. Part Three - Matthew 26:51-75 We see our Lord's trial and the betrayal of St. Peter. Sorry for the COVID Delay in getting this episode out.

Bassist en componist Egon Kracht maakte een bewerking voor septet van Bachs Mattheus Passion, zonder tekst, en met een bijzondere bezetting waarin onder meer saxofoon, vibrafoon en electrische gitaar te horen zijn. Komende week op diverse plaatsen live te horen! 23.04 CD Pergolesi Stabat Mater (Alpha Classics 784) Giovanni Battista Pergolesi: Stabat Mater - Stabat Mater Dolorosa Le Concert de la Loge olv Julien Chauvin 4'05” CD Pergolesi Stabat Mater (Alpha Classics 784) Joseph Haydn: Symfonie nr. 49 in f ‘La Passione' - I Adagio Le Concert de la Loge olv Julien Chauvin 7'21” (fragment) 23.15 CD Aus Liebe - Excerpts from the St. Matthew Passion (eigen beheer z.nr.) Johann Sebastian Bach, arr. Egon Kracht: Blute nur Egon Kracht & The Troupe 5'38” CD Aus Liebe - Excerpts from the St. Matthew Passion (eigen beheer z.nr.) Johann Sebastian Bach, arr. Egon Kracht: Erbarme dich Egon Kracht & The Troupe 7'06” CD Aus Liebe - Excerpts from the St. Matthew Passion (eigen beheer z.nr.) Johann Sebastian Bach, arr. Egon Kracht: Aus Liebe Egon Kracht & The Troupe 4'28” CD Aus Liebe - Excerpts from the St. Matthew Passion (eigen beheer z.nr.) Johann Sebastian Bach, arr. Egon Kracht: Sehet, Jesus hat die Hand Egon Kracht & The Troupe 3'00” CD Dances (Just Listen JL020) John Dowland, arr. Egon Kracht: Can she excuse my wrongs New World Quartet 2'52” eigen opname Kate Moore: Phoenix Cello Octet Amsterdam 4'16” eigen opname Sofia Gubaidulina, arr. Elias Arizcuren: Mirage: The dancing sun Cello Octet Amsterdam 13'02”

The St. Matthew Passion is full of short bursts of dramatic expression. In this episode, we explore two moments of reaction by an onlooking crowd.  One of Bach's shortest and most surprising moments happens when Pontius Pilate asks the crowd which prisoner should be released -- Jesus, or Barrabas? The crowd's reply is as disturbing as it is musically shocking.  Another moment happens later, after the earthquake and chaos immediately after Christ's death. After the frantic narration, the guard and crowds speak. But this moment is not one of pure terror, but rather sublime realization: "Truly, this was the Son of God." Bach's transparently gentle setting of this sentence is unforgettable.   An "A Moment of Bach" listener suggested the two topics for this episode! Do you want to suggest your own? https://amomentofbach.com/ 

What if the greatest composer in human history set the passion narrative of Christ to music? As a matter of fact, he did. In this episode, Mark talks to talks to Maestro Delta David Gier, music director of the South Dakota Symphony Orchestra about Bach's St. Matthew Passion — a preview of a special event Grace will host later this month called Hearing the Music: The St. Matthew Passion. We'll also hear from another member of the Grace community, Hannah Larsen, about her experience using the St. Matthew Passion for Lenten devotions. Mentioned in this episode:Matthew 26-27 Passion NarrativeHearing the Music (podcast featuring David and Mark)Details on the April 2 SDSO performance of the St. Matthew Passion

In this podcast, LA Opera's Richard Seaver Music Director James Conlon explores Bach's St. Matthew Passion in this pre-recorded pre-performance talk.

Sometimes the simplest expression is the most powerful.  At a pivotal point in the intimidating and complex St. Matthew Passion, Bach places this strikingly stark, simple, yet devastating piece of music.  We discuss how the sparse instrumentation, with its lack of bass sounds, leaves the listener unmoored, feeling the vulnerability of the soloist's emotion.  And Alex talks about a "moment of West Wing", so to speak. St. Matthew Passion, performed by the Netherlands Bach Society (this link takes you directly to the "Aus Liebe" aria, with soprano Griet de Geyter): https://youtu.be/ZwVW1ttVhuQ?t=6362 Scene from "The West Wing" that features Josh's favorite "Ave Maria" moment: https://www.youtube.com/watch?v=5sQsVBolPNs

In this podcast, Susan Graham, Artistic Advisor to the LA Opera's Young Artists Program, takes us through a scene-by-scene description of Bach's St. Matthew Passion. This production of St. Matthew Passion opens March 12, 2022.

Is it possible to save a life with music? It is not only possible but a medical reality as we hear from Andrew Schulman, a professional musician whose near-death experience and miraculous recovery is the subject of his first book, Waking the Spirit. Hear about his harrowing surgical experience during which his vital signs bottomed out causing clinical death, the frantic resuscitation effort and the medically induced coma. As his doctors and nurses agreed he would most likely not survive, his desperate wife found his iPod, placed the earphones on him and hit "PLAY". Within 30 minutes, the St. Matthew Passion by Bach stabilized Andrew's vital signs, reignited his will to live and, with intensive and remarkable care by the doctors and staff at New York's Beth Israel Hospital, slowly brought him back. Thus, he found a new calling--bringing his guitar and musical passion to the bedside of other critically ill patients. Today he is a Certified Medical Musician and a recognized expert on the healing power of music.Support the show

Opening Song:  O Lord, open our lips and our mouths will declare Your praise.  Glory be to the Father, and to the Son, and to the Holy Spirit,  As it was in the beginning, is now and ever shall be, world without end,  Amen.    The Scripture for today is 1 Corinthians 15:12-20.    Let's prepare our hearts to hear from God's word as we listen to  Christ Our Hope in Life and Death by Jordan Kauflin, Keith Getty, Matt Boswell, Matt Papa, and Matthew Merker (sung by Shane and Shane). This arrangement stretches the march-like contemporary hymn into a more drawn-out, emotional reflection. Each chorus explodes with triumph in a welcome of voices, percussion, and harmony, a representation of Christ's victory over death.  Lyrics:   What is our hope in life and death Christ alone Christ alone What is our only confidence That our souls to Him belong Who holds our days within His hand What comes apart from His command And what will keep us to the end The love of Christ in which we stand   O sing hallelujah Our hope springs eternal O sing hallelujah Now and ever we confess Christ our hope in life and death   What truth can calm the troubled soul God is good God is good Where is His grace and goodness known In our great Redeemer's blood Who holds our faith when fears arise Who stands above the stormy trial Who sends the waves that bring us nigh Unto the shore the rock of Christ   Unto the grave what will we sing Christ He lives Christ He lives And what reward will heaven bring Everlasting life with Him There we will rise to meet the Lord Then sin and death will be destroyed And we will feast in endless joy When Christ is ours forevermore Passage:  12   Now if Christ is proclaimed as raised from the dead, how can some of you say that there is no resurrection of the dead? 13 But if there is no resurrection of the dead, then not even Christ has been raised. 14 And if Christ has not been raised, then our preaching is in vain and your faith is in vain. 15 We are even found to be misrepresenting God, because we testified about God that he raised Christ, whom he did not raise if it is true that the dead are not raised. 16 For if the dead are not raised, not even Christ has been raised. 17 And if Christ has not been raised, your faith is futile and you are still in your sins. 18 Then those also who have fallen asleep in Christ have perished. 19 If in Christ we have hope in this life only, we are of all people most to be pitied.   20 But in fact Christ has been raised from the dead, the firstfruits of those who have fallen asleep.   (1 Corinthians 15:12–20 ESV) Musical Reflection:  O Sacred Head Now Wounded by Hans Leo Hassler  Reflection Notes:  This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity.  Prayer: Heavenly Father, in you we live and move and have our being: We humbly pray you so to guide and govern us by your Holy Spirit, that in all the cares and occupations of our life we may not forget you, but may remember that we are ever walking in your sight; through Jesus Christ our Lord.  Amen.

In this podcast, Dr. Ariane Helou, a scholar whose research focuses on drama, music and poetry in early modern Europe, and artist and choreographer Kitty McNamee discuss choreography and communication in the music, libretto and visuals of Bach's St. Matthew Passion.

Luke 19, 45-48: My House shall be a house of prayer, you have made it into a house of thieves…God instructed Moses to build a tabernacle where he would dwell among the Israelites (Ex 25:40). King Solomon, also in obedience to a divine instruction, built the Temple of Jerusalem (1 Kings 6-8), where people went to render public worship to God. Fr. Eric Nicolai preached this meditation at Ernescliff College on November 19, 2021. Music: "O Haupt voll Blut und Wunden" (Melody J. S. Bach in St. Matthew Passion), arranged for guitar by Bert Alink.

Opening Song:  O Love That Will Not Let Me Go (Heritage) by As Isaac Lyrics: O Love that will not let me go I rest my weary soul in Thee I give Thee back the life I owe That in thine ocean depths its flow May richer, fuller be   What kind of love is this? That You would call me friend What kind of love is this? This is my heritage   O Joy that seekest me through pain I cannot close my heart to Thee I trace the rainbow through the rain And feel the promise is not vain That morn shall tearless be   What kind of love is this? That You would call me friend What kind of love is this? This is my heritage   Your song over all my years My perfect inheritance What kind of love, what kind of love is this!   O Cross that liftest up my head I dare not ask to fly from thee; I lay in dust life's glory dead And from the ground there blossoms red Life that shall endless be Passage:  1   For every high priest chosen from among men is appointed to act on behalf of men in relation to God, to offer gifts and sacrifices for sins. 2 He can deal gently with the ignorant and wayward, since he himself is beset with weakness. 3 Because of this he is obligated to offer sacrifice for his own sins just as he does for those of the people. 4 And no one takes this honor for himself, but only when called by God, just as Aaron was.   5 So also Christ did not exalt himself to be made a high priest, but was appointed by him who said to him, “You are my Son, today I have begotten you”;   6 as he says also in another place, “You are a priest forever, after the order of Melchizedek.”   7 In the days of his flesh, Jesus offered up prayers and supplications, with loud cries and tears, to him who was able to save him from death, and he was heard because of his reverence. 8 Although he was a son, he learned obedience through what he suffered. 9 And being made perfect, he became the source of eternal salvation to all who obey him, 10 being designated by God a high priest after the order of Melchizedek.  (Hebrews 5:1–10) Musical Reflection:  O Sacred Head Now Wounded by Hans Leo Hassler  Reflection Notes:  This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity.  Prayer: Almighty and everlasting God, in Christ you have revealed your glory among the nations: Preserve the works of your mercy, that your Church throughout the world may persevere with steadfast faith in the confession of your Name; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

Opening Song:  O God, Will You Restore Us? By Bifrost Arts Lyrics:  O God, will You restore us, and grant us Your salvation?   I will hear what God proclaims The Lord our God proclaims peace Kindness and truth shall meet Justice and peace shall kiss   "Here is the fast I choose – To loosen the bonds of the oppressed and break their chai    s Let righteousness and justice go out before you Then you will call out and I will hear"   Near indeed is His salvation to those who call on Him He will incline is ear and hear their prayers Truth shall spring out of the earth And Justice will rain down from heaven   The Lord will guide you on a righteous path His vindication will shine down forth as the dawn Your people will be called repairers of broken walls Making straight the path to proclaim His reign!   Passage:  5 And the king ordered Joab and Abishai and Ittai, “Deal gently for my sake with the young man Absalom.” And all the people heard when the king gave orders to all the commanders about Absalom.   6 So the army went out into the field against Israel, and the battle was fought in the forest of Ephraim. 7 And the men of Israel were defeated there by the servants of David, and the loss there was great on that day, twenty thousand men. 8 The battle spread over the face of all the country, and the forest devoured more people that day than the sword.   9 And Absalom happened to meet the servants of David. Absalom was riding on his mule, and the mule went under the thick branches of a great oak, and his head caught fast in the oak, and he was suspended between heaven and earth, while the mule that was under him went on. 14 Joab said, “I will not waste time like this with you.” And he took three javelins in his hand and thrust them into the heart of Absalom while he was still alive in the oak. 15 And ten young men, Joab's armor-bearers, surrounded Absalom and struck him and killed him.   31 And behold, the Cushite came, and the Cushite said, “Good news for my lord the king! For the LORD has delivered you this day from the hand of all who rose up against you.” 32 The king said to the Cushite, “Is it well with the young man Absalom?” And the Cushite answered, “May the enemies of my lord the king and all who rise up against you for evil be like that young man.” 33 And the king was deeply moved and went up to the chamber over the gate and wept. And as he went, he said, “O my son Absalom, my son, my son Absalom! Would I had died instead of you, O Absalom, my son, my son!”   (2 Samuel 18:5–9, 14–15, 31–33 ESV)   Musical Reflection: HERZLICH TUT MICH VERLANGEN by Hans Leo Hassler (O Sacred Head, Now Wounded) Reflection Notes:  This tune by Hassler is most famously set with the text “O Sacred, Now Wounded;” the most common harmonization was popularized by J.S. Bach in his St. Matthew Passion. It conveys the pathos of Christ's death with deep sincerity.  Prayer: This is another day, O Lord. I know not what it will bring forth, but make me ready, Lord, for whatever it may be. If I am to stand up, help me to stand bravely. If I am to sit still, help me to sit quietly. If I am to lie low, help me to do it patiently. And if I am to do nothing, let me do it gallantly. Make these words more than words, and give me the Spirit of Jesus. Amen.

Opening Song:   In Times of Trouble by Taylor Leonhardt and Paul Zach Lyrics: I was like a shipwreck out in the sea Storm clouds, rain poundin', left alone in the deep Winds were blowin' right through me, no help to be found Lost my sense of direction, water's takin' me down   Then God lifted up his hand And he delivered me again When all of my hope was gone He turned my fear into a song, singing God is my help in times of trouble God is my help in times of trouble   I was like a city under attack I cried, O God, take pity, keep the enemy back I waited and I waited, but no answer came Seemed like all was finished, enemy at the gate   Then God lifted up his hand And he delivered me again When all of my hope was gone He turned my fear into a song, singing God is my help in times of trouble God is my help in times of trouble God is my help in times of trouble God is my help in times of trouble Passage:  14   King Herod heard of it, for Jesus' name had become known. Some said, “John the Baptist has been raised from the dead. That is why these miraculous powers are at work in him.” 15 But others said, “He is Elijah.” And others said, “He is a prophet, like one of the prophets of old.” 16 But when Herod heard of it, he said, “John, whom I beheaded, has been raised.” 17 For it was Herod who had sent and seized John and bound him in prison for the sake of Herodias, his brother Philip's wife, because he had married her. 18 For John had been saying to Herod, “It is not lawful for you to have your brother's wife.” 19 And Herodias had a grudge against him and wanted to put him to death. But she could not, 20 for Herod feared John, knowing that he was a righteous and holy man, and he kept him safe. When he heard him, he was greatly perplexed, and yet he heard him gladly.   21 But an opportunity came when Herod on his birthday gave a banquet for his nobles and military commanders and the leading men of Galilee. 22 For when Herodias's daughter came in and danced, she pleased Herod and his guests. And the king said to the girl, “Ask me for whatever you wish, and I will give it to you.” 23 And he vowed to her, “Whatever you ask me, I will give you, up to half of my kingdom.” 24 And she went out and said to her mother, “For what should I ask?” And she said, “The head of John the Baptist.” 25 And she came in immediately with haste to the king and asked, saying, “I want you to give me at once the head of John the Baptist on a platter.” 26 And the king was exceedingly sorry, but because of his oaths and his guests he did not want to break his word to her. 27 And immediately the king sent an executioner with orders to bring John's head. He went and beheaded him in the prison 28 and brought his head on a platter and gave it to the girl, and the girl gave it to her mother. 29 When his disciples heard of it, they came and took his body and laid it in a tomb.   (Mark 6:14–29 ESV) Musical Reflection:  St. Matthew Passion, BWV 244, Pt. 2, No. 39, Aria: “Erbarme dich” by J.S. Bach Reflection Notes:  The exquisite aria “Erbarme dich” from Bach's St. Matthew Passion opens with a melancholy violin solo, where each phrase decays like a sigh of anguish. The mezzo-soprano's text reads “Have mercy, my God, for the sake of my tears! Look here, heart and eyes weep bitterly before you. Have mercy, have mercy!” Prayer: Into your hands, O God, we commend ourselves and all who are dear to us this day. Let the gift of your special presence be with us even to its close. Grant us never to lose sight of you all the day long, but to worship and pray to you, that at eventide we may again give thanks unto you; through Jesus Christ our Lord. Amen. The Gelasian Sacramentary

One of the most beloved arias of all time, "Erbarme dich" ("Have mercy on me") comes straight from the contrite heart of Peter, the disciple of Jesus, on Good Friday.  After denying Christ three times, he realized his sin, and "went out and wept bitterly".  The violin solo represents the anguish of Peter's soul at this moment.  Bach scores the emotion here, just like a movie composer would.  This is musical storytelling at its finest. Thank you to listener Molly for the suggestion! Hear "Erbarme dich" performed by the Netherlands Bach Society (Tim Mead, alto; Shunske Sato, violin solo; Jos van Veldhoven, conductor): https://youtu.be/ZwVW1ttVhuQ?t=5179 Other music from the St. Matthew Passion: "O Mensch, bewein" (played in the background near the end of the episode): https://youtu.be/ZwVW1ttVhuQ?t=3818  

You will be humming this one for days!  Even if you didn't know of this particular aria before hearing this episode of A Moment of Bach, it's impossible not to be charmed by this sprightly tune on a first listen.  But there is also some fury and swift anger in the music -- the words are "Give me my Jesus back!" and they are shouted at the soldiers who have arrested Jesus on the night of His betrayal.  "Gebt mir" aria (Sayuri Yamagata, violin; Sebastian Noack, bass): https://youtu.be/ZwVW1ttVhuQ?t=5722

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

Synopsis Stephen Sondheim was 32 years old when his musical “A Funny Thing Happened on the Way to the Forum” opened on Broadway on today’s date in 1962. The best seats would have cost you $8.60, but decent tickets were available for three bucks in those days–and, much to Sondheim’s relief, New Yorkers snapped them up in short order. The trial run of “Forum” in Washington had been a near disaster, and, as this was the first major musical for which Sondheim wrote both the lyrics and the music, he had a lot riding on the show’s success. Audiences and critics alike loved the over-the-top fusion of an ancient Roman comedy by Plautus with the kick-in-the-pants conventions of American Vaudeville, spiced up with a liberal dash of Burlesque beauties in skimpy Roman costumes. As the NY Times review put it, the cast included six courtesans who “are not obliged to do much, but have a great deal to show.” “Forum” won several Tony Awards in 1962, including “Best Musical.” Even so, while Sondheim’s lyrics were praised, his music was barely mentioned: Sondheim’s skill as a composer not yet fully appreciated. that would occur several years, and several shows, later. Music Played in Today's Program Stephen Sondheim (b. 1930) A Funny Thing Happened on the way to the Forum 1996 Broadway Cast Angel 52223 On This Day Births 1745 - Baptismal date of Bohemian violinist and composer Carl Philipp Stamitz, in Mannheim; He was the son of the composer JohannWenzel Anton Stamitz (b. 1717), and the brother of composer Johann Anton Stamitz (b. 1750); 1829 - American pianist and composer Louis Moreau Gottschalk, in New Orleans; 1945 - American pianist and composer Keith Jarrett, in Allentown, Pa.; Deaths 1829 - Italian composer and guitar virtuoso Mauro Giuliani, age 47, in Naples; 1944 - British composer and women's rights advocate Dame Ethel Smyth, age 86, in Woking; 1960 - Swedish composer Hugo Alfvén, age 88, in Falun; Premieres 1720 - Handel: opera "Radamisto" (1st version) (Julian date: April 27); 1736 - Handel: anthem "Sing unto God" (Julian date: April 27); 1749 - Handel: "Music for the Royal Fireworks" (Julian date: April 27); 1924 - Honegger: "Pacific 231," in Paris at a Koussevitzky Concert; 1938 - Stravinsky: "Dumbarton Oaks" Concerto, at Dumbarton Oaks, conducted by Nadia Boulanger; 1939 - Persichetti: Piano Sonata No. 1, at Philadelphia Conservatory, composer performing; 1946 - Menotti: "The Medium," at Columbia University in New York City; 1958 - Ligeti: String Quartet No. 1 ("Metamorphoses nocturnes"), in Vienna, by the Ramor Quartet; 1962 - Sondheim: Broadway premiere of musical "A Funny Thing Happened on the Way to the Forum"; Near-disasterous trial run performances in Washington DC and other cities preceded the show's Broadway premiere; This was the first major musical for which Sondheim wrote both the lyrics and the music; It won several Tony Awards in 1962, including "Best Musical"; 1965 - Rochberg: "Zodiac" (orchestral version), by Cincinnati Symphony, Max Rudolf conducting; 1970 - Gunther Schuller: children's opera "The Fisherman and His Wife," in Boston; 1973 - Rochberg: "Imago Mundi," by Baltimore Symphony, Sergiu Commisiona conducting; 1979 - Andrew Lloyd-Webber: musical "Evita," in Los Angeles; The musical opened on Broadway on September 25, 1979; 1985 - Frank Zappa: "Time's Beach" for winds, at Alice Tully Hall in New York, by the Aspen Wind Quintet; 1996 - Lowell Liebermann: opera "The Picture of Dorian Gray," at the Monte Carlo Opera, with tenor Jeffrey Lentz in the title role and Steuart Bedford conducting; The American premiere of this opera was staged in Milwaukee, Wis., by the Florentine Opera in Feb. of 1999; 1998 - Saariaho: Cello Octet, at the Beauvais Cello Festival in Beavais, France; Others 1747 - J.S. Bach performs an organ recital at the Heiligeistkirche in Potsdam; 1821 - Earliest documented American performance Beethoven's Symphony No. 2, in Philadelphia at Washington Hall, by the Musical Fund Society, Charles Hupfeld conducting; The finale only was performed by the Philharmonic Society in New York on December 16, 1824 and repeated at Castle Garden on April 21, 1825; The first complete performance in New York was apparently given on April 22, 1843, at the Apollo Room during the first season of the New York Philharmonic with George Loder conducting; 1874 - American premiere of J.S. Bach's "St. Matthew Passion," at the Music Hall in Boston, by the Handel and Haydn Society, Carl Zerrahn conducting; The performing forces included a chorus of 600, and orchestra of 90, and a 60-voice boy's choir; For this performance, the first 12 numbers of Part II were omitted; The complete Passion was not performed by the Society until 1879; About half of Bach's Passion was given its New York City premiere at St. George's Church on March 17, 1880, by the New York Oratorio Society under Leopold Damrosch; Theodore Thomas conducted the next documented performance in Cincinnati on May 17, 1882, during that city's May Festival; 1945 - Aaron Copland's Pulitzer Prize for Music for his "Appalachian Spring" ballet score is announced on V-E Day (the day the Allied Forces won the war in Europe). Links and Resources On Sondheim

In this special edition of Behind the Curtain, LA Opera's Richard Seaver Music Director, James Conlon contemplates some of the rich musical works, oratorios, opera and stage festival plays, that have been associated with Easter traditions and celebrations. Works featured include: Messiah by George Frideric Handel https://www.youtube.com/watch?v=r68P8TBWiIQ St. Matthew Passion, BWV 244 by Johann Sebastian Bach https://youtu.be/28bIf-OzKVE Anne Sofie von Otter - "Erbarme dich, mein Gott": https://youtu.be/r2C8TvF3dJk Easter Oratorio. BWV 249 by Johann Sebastian Bach https://youtu.be/xUKc_-x6v0M Stabat Mater by Antonín Dvořák https://youtu.be/MTPxgiAtTp0 https://youtu.be/BaKhp6voYdw Stabat Mater, Op. 53 by Karol Szymanowski https://youtu.be/soC2WFYgWH0 Quattro pezzi sacri: Stabat mater by Giuseppe Verdi https://youtu.be/HU9rqXpYWJk Christus by Franz Liszt https://youtu.be/PteHCN8_fHk Parsifal - Act Three - Karfreitag (Good Friday) Excerpt by Richard Wagner https://youtu.be/z-vcbbRREUgKarfreitagrauber

J. S. Bach masterfully portrays the satisfaction of God's wrath in the death of his Son through how he musically sets the passion narrative from St. Matthew, including other poetry and key chorales. Listen as Scott Aniol explains along with musical examples. You can (and should!) listen to the whole of Bach's St. Matthew Passion here: https://www.youtube.com/watch?v=3k4Ph-H5ZO4 --- Support this podcast: https://anchor.fm/scottaniol/support

In our tenth episode, we celebrate the genesis of this podcast's main premise. Using a humble and unassuming bit of connecting music from the St. Matthew Passion, Christian shows how Bach portrayed the soul swimming in tears. Love emerges victorious in the last line, where the music reaches a shimmering conclusion. "How can we talk about moments like this?!" That was our question to each other, so that's why we've got a podcast now! "Wiewohl" recitative: https://youtu.be/ZwVW1ttVhuQ?t=1732

In our ninth episode, we take our first look at the beloved St. Matthew Passion.  Staggering in its emotional scope, this work tells the complete story of Jesus's suffering and death (from the Gospel of Matthew -- in German!), interspersed with personal reflections. Hearing this music, it is as if you are transported  -- you are there, at the cross. The St. Matthew Passion is a true masterpiece. St. Matthew Passion last chorale: https://youtu.be/ZwVW1ttVhuQ?t=8543

Über J.S. Bachs Matthäus-Passion und ihren urmenschlichen Erfahrungshorizont sprechen Akademieleiter Hans-Christoph Rademann und Chefdramaturg Henning Bey in dieser Episode des Podcasts Barock@home. Menschliche Schwäche und Versagen, wie sie die Figuren des Petrus und Judas als Wesenszüge zeigen, und der musikalische Ausdruck, den J.S. Bach ihnen verliehen hat, stehen im Fokus des Gesprächs. Dazu erklingt Musik der Anfang März bei Accentus erschienenen CD-Einspielung der Gaechinger Cantorey. Christiane Roßbach vom Staatstheater Stuttgart liest Texte aus Walter Jens‘ »Der Fall Judas« und Jürgen Flimms »Lieber Kurt. Über die Matthäus-Passion«. In this episode of the podcast Barock@home, Hans-Christoph Rademann and chief dramaturge Henning Bey talk about J.S. Bach's St. Matthew Passion and its primal human horizon of experience. Human weakness and failure, as shown as traits in the figures of Peter and Judas, and the musical expression that J.S. Bach gave them, are the focus of the conversation. The conversation is accompanied by music from the CD recording by the Gaechinger Cantorey, which was released by Accentus at the beginning of March. Christiane Roßbach from the Staatstheater Stuttgart reads texts from Walter Jens' »Der Fall Judas" and Jürgen Flimm's »Lieber Kurt. Über die Matthäus-Passion«. Solisten: Isabel Schicketanz (Sopran), Marie Henriette Reinhold (Alt), Patrick Grahl (Tenor), Benedikt Kristjánsson (Tenor), Peter Harvey (Bass) und Krešimir Stražanac (Bass) Produktion: Bildmanufaktur GmbH

That's a lot to promise in one humble music podcast, isn't it? Greatness, consolation, and transcendence? But it is truth in advertising. Handel, “Dopo notte atra e funesta,” from Handel's “Ariodante” Pärt, “Cantus in Memory of Benjamin Britten” Mozart, Clarinet Concerto Trad., “Shenandoah” Brahms, Piano Trio No. 1 in B major, Op. 8 Bach, “Mache dich, mein Herze, rein,” from St. Matthew Passion

Twenty five years after his first recording for BIS of JS Bach's St Matthew Passion, Masaaki Suzuki and his Bach Collegium Japan have taken the work into the studio for a second time, and a magnificent achievement it proves. James Jolly met up with Suzuki when he was in London recently, working with students at the Royal Academy of Music.

This podcast was recorded for a music appreciation class for non musicians at Humber college. In line with the Etobicoke Philharmonic Orchestra's upcoming "discovery" concert, it locates the baroque period in the broad history of western art music and focuses on Bach's "Erbarme Dich" from the St. Matthew Passion to illustrate the tension between the bass and soprano lines in baroque music.

On today's show, Tim welcomes musicians Cheryl and Tom Elliot to promote their appearance in Proclamation Presbyterian Church's Concert Series. The concert series will be tomorrow at 7:30 pm ET and will feature sublime music and drama in a refreshing performance of selections from J. S. Bach’s St. Matthew Passion as performed by trombonist Tom Elliott alongside string quintet and continuo musicians Cheryl Elliott, Dottie Free, Ana Tsindaze, Richard Amoroso, Joanna Bates, and Scott Anthony with the powerful Evangelist role spoken by the Rev. Ben Falconer. The concert is free of charge. A reception will follow. For more information, visit proclamation.org/concertsSee omnystudio.com/listener for privacy information.

Looking ahead to International Women's Day, Lucie Skeaping talks to Rebecca Cypess of Rutgers University in New Jersey about music played, collected and commissioned by the Jewish salon hostess Sara Levy (1761-1854), student of Wilhelm Friedemann Bach and great-aunt of Felix Mendelssohn. Levy was a remarkable woman and was hugely important in the preservation and perpetuation of the Bach family tradition in the late 18th and early 19th centuries, before Mendelssohn ignited the widespread craze for Bach's music in 1829. At a time before Jews had legal rights in Prussia, Levy's father received special status as a "court Jew" (ie, financier) to Frederick the Great. Sara and her siblings benefited from his wealth and position, and received the finest musical education available. By 1774 she was studying harpsichord with no less a teacher than Wilhelm Friedemann Bach (1710-1784), eldest son of the great JS Bach). In 1783, when she married Salomon Levy, Friedemann presented her with a song, "Herz, mein Herz sey ruhig" (Heart, my heart, be still) as a gift. Around the time of her marriage, Sara began to host salon gatherings in her home, in which men and women, Jews and Christians, gathered to socialize and to discuss new cultural ideas. However, unlike other salons hosted by women in Enlightenment Berlin, which were centred primarily around literature, Sara's salon was musical. She became a keyboard virtuoso, defying the expectation documented in the many collections of "Damen Sonaten" (Ladies' Sonatas) of the late 18th century that women could play only easy pieces. By the mid-1790s she was performing outside of her salons as well, in concert series and, later, as a concerto soloist at the amateur music society known as the Singing Academy of Berlin. Sara Levy was also a collector - among the first to take an interest in the preservation and performance of music of previous generations, especially that of J.S. Bach. This was at a period when older music in general was neglected in favour of newer music, and when the music of Johann Sebastian in particular was viewed as old-fashioned and overly difficult to understand. Yet Sara Levy, along with her sisters and her husband, played solos, chamber music, and concertos by Bach and his contemporaries, and their soirées constituted what the composer Johann Friedrich Reichardt called a "Bach cult." Around 1813, Sara donated the majority of her enormous collection of manuscript scores and printed sheet music to the Singing Academy of Berlin. It was there, in 1829, that her great-nephew Felix Mendelssohn Bartholdy staged his famous performance of J.S. Bach's St. Matthew Passion - the event that sparked the so-called "Bach revival" of the 19th century. Sara was also a patron of new music. Some of the keyboard fantasies of W.F. Bach are preserved only in manuscripts associated with Levy and her circle, suggesting that she or her family may have commissioned them, heard the composer play them, and played them themselves. It's thought she may also have commissioned the late quartets of C.P.E. Bach.

Sign of the Cross in St. Matthew PassionSeries: Learners' Exchange 2018 Speaker: Jason CheungLearners' ExchangeDate: 18th February 2018

Kirk got his HomePod. He spent a couple of hours listening to music to judge the sound quality. In short, it sounds great at times, but at others it doesn’t. Sponsor: ChronoSync, by Econ Technologies. Whatever your backup or sync scenario, ChronoSync has got you covered! Download a free 15-day trial version, and get 25% off ChronoSync on the Econ Technologies website. Show notes: Wrapping it right: In praise of Apple's packaging Sonos PLAY:5 Cambridge Audio Minx Air 100 Coldplay: The Scientist Bob Dylan: Cold Irons Bound Talking Heads: I Zimbra Brian Eno: Just Another Day (This disc is not available on Apple Music.) The Cure: Faith David Bowie: “Heroes” Pink Floyd: Wish You Were Here Brian Eno: St. Elmo’s Fire Joy Division: She’s Lost Control Grateful Dead: Ripple Brad Mehldau: Exit Music (For a Film) Beethoven: String Quartet No. 11 in F Minor, Op. 95, “Serioso”; Takács Quartet Tobias Hume: Musicall Humours, Jordi Savall Purcell: Fantasies for Viols, Phantasm Bach: St. Matthew Passion, BWV 244: No.39 Aria: “Erbarme Dich” Magdalena Kozená Bob Dylan: Tangled Up in Blue Brad Mehldau: River Man Grateful Dead: Truckin’ Coldplay: ‘Til Kingdom Come Our next tracks: Doug: Abraham Inc.: Tweet-Tweet If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast.

In this short podcast I listen to opening music of Bach's St. Matthew Passion, performed by John Eliot Gardiner and the Monteverdi Choir with the English Baroque Soloist, and offer one possible answer to the question of why a piece written in German, 300 years ago, in celebration of Christianity, is 'worth listening to" by non-Christian, non-German speaking people, today.

In Ep. 3, The Life of Johann Sebastian Bach pt. 3, "The Cantor of Leipzig", we see our great composer become the Cantor of Leipzig. He will encounter many obstacles during these long years in Leipzig, but will still manage to be able to keep up a relentless composition schedule and create one of the greatest bodies of work in the history of music. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Thank you to musopen.org for the royalty free music recordings! Much appreciated as always! Music heard in this episode: 1. St John Passion, (ending portion no. 1 Chorus: “Herr, unser Herrscher” 2-4. St. Matthew Passion (chorale selections) 5. Church Cantata no. 86 6. St. John Passion, Part 1.2 7. St. Matthew Passion, selection from Part 2 8. Cantate Profane 9. Partita no. 1 in B-flat major, Prelude 10. St. Matthew Passion, “Erbarme Dich” Special thanks again to pianist Chiara Bertoglio and the wonderful performance of the Partita no. 1 BWV 825 - Allemande.https://musopen.org/music/809/johann-sebastian-bach/partita-no-1-bwv-825/  For educational purposes only.

Ep. 0, The GCP pilot episode! The life of Johann Sebastian Bach 'An Introduction' surveys the life of one of classical music's greatest composers. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Thank you to musopen.org for the historical recording of the St. Matthew Passion! For educationally purposes only.

Produced by ricepudding

Produced by ricepudding

Stephen Johnson considers how five seminal pieces of music would have been appreciated by the audiences who heard them first. He probes the societies and cultures that shaped the experience of those original listeners to reveal what our modern ears might be missing.Since its revival in the 19th century, Bach's St. Matthew Passion has been hailed as one of the pillars of Western music; universally regarded, and with a powerful influence that reaches into our own time. How differently, then, would his music have fired imaginations in the provincial church-goers of 18th century Leipzig? People whose experience of music was so much more limited than our own, and whose pietist religious sensibilities coloured every aspect of their daily lives.

The Matthew Passion

There's plenty of talk on radio, but with 20twenty you'll find Life, Culture & Current events from a Biblical perspective. Interviews, stories and insight you definately won't hear in the mainstream media. This feed contains selected content from 20twenty, heard every weekday morning. See www.vision.org.au for more details Help Vision to keep 'Connecting Faith to Life': https://vision.org.au/donate See omnystudio.com/listener for privacy information.

Howard Goodall and Suzy Klein discuss the opening of Bach's St Matthew Passion

Can you guess this piece? Here's a hint: “holy” corporeal…

Sue Lawley's castaway is conductor John Eliot Gardiner.Favourite track: Peter's Denial (St. Matthew Passion) by Johann Sebastian Bach Book: Memoirs by Hector Berlioz Luxury: Sancerre