Podcasts about St John Passion

In this week's episode, Editor Martin Cullingford met with the founder and Music Director of Bach Collegium Japan Masaaki Suzuki, along with the group's Principal Conductor Masato Suzuki, to talk about their new recording of Brahms's Ein deutsches Requiem, available now on BIS – as well as discussing Bach's St John Passion, which they had performed the day prior to the interview. The interview took place last year in, appropriately enough, London's Japan House.

This week on The Sound Kitchen you'll hear the answer to the question about European military powers. You'll hear about recent concerts featuring the music of JS Bach, as well as “The Listener's Corner” with Paul Myers and Erwan Rome's “Music from Erwan". All that and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all!Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner!More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!We have new RFI Listeners Club members, all members of a student radio club in West Bengal, India, headed up by their teacher, Ratan Kumar Paul. Join me in a hearty welcome to new members Deep Paul, Dilip Meta, Sima Pal, and Rimil Paul, with of course, their teacher, Ratan Kumar Paul.Welcome, one and all! So glad you have joined us!You too can be a member of the RFI Listeners Club – just write to me at english.service@rfi.fr and tell me you want to join, and I'll send you a membership number. It's that easy. When you win a Sound Kitchen quiz as an RFI Listeners Club member, you'll receive a premium prize.This week's quiz: On 15 March, I asked you a question about our article “Macron hosts European military chiefs to discuss Ukraine security guarantees”. French President Emmanuel Macron had just met with defense ministers from Europe's five main military powers for talks on the "necessary rearmament of Europe", as well as military support to Ukraine, according to one of the French defense minister's aides.You were to send in the answer to this question: Which five countries are Europe's main military powers? The answer is: France, Britain, Germany, Italy, and Poland. In addition to the quiz question, there was the bonus question: “Which is more important, talent or hard work?”Do you have a bonus question idea? Send it to us! The winners are: RFI Listeners Club member Helmut Matt from Herbolzheim, Germany. Helmut is also this week's bonus question winner. Congratulations, Helmut, on your double win!Also on the list of lucky winners this week are Hasina Zaman Hasi, a member of the RFI Amour Fan Club in Rajshahi, Bangladesh, and RFI Listeners Club members Solomon Fessahazion from Asmara, Eritrea, Karobi Hazarika from Assam, India, and Samir Mukhopadhyay from West Bengal, India.Congratulations, winners!Here's the music you heard on this week's programme: The Adagio from the Concerto for Violin and Oboe, BWV 1060 by Johann Sebastian Bach, performed by violinist Nemanja Radulovic, oboist Sébastien Giot, and the Double Sens Ensemble; “Herr, unser Herrscher”  (“Lord, our Ruler”) from the St John Passion, BWV 245 by Johann Sebastian Bach, performed by the Netherlands Bach Society conducted by Jos van Veldhoven; Czardas by Vittorio Monti, performed by Nemanja Radulovic with the Chamber Orchestra of Cannes, conducted by Didier Benetti; the Allegro from the Violin Concerto in d minor, BWV 1052R by Johann Sebastian Bach, performed by Nemanja Radulovic and the Double Sens Ensemble; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; the theme music from "I Dream of Jeannie" by Hugo Montenegro; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and traditional Greenland Inuit Chants and Drums. Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “Air pollution in Paris region 'cut in half' over the past 20 years”, which will help you with the answer.You have until 5 May to enter this week's quiz; the winners will be announced on the 10 May podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceClick here to learn how to win a special Sound Kitchen prize.Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

Henning Kraggerud - Dublin, Written In Our Hearts - James MacMillan's St John Passion

Dr. Joshua Harper returns to Prescott to conduct the Arizona Philharmonic and Quartz Ensemble in J. S. Bach's St. John Passion. Considered one of the composer's three greatest works, St. John Passion is an emotive masterpiece, a pivotal work of Baroque sacred music that vividly portrays the Passion of Christ through its intricate interplay of dramatic recitatives, reflective arias, and poignant chorales. “The piece has been at the top of my bucket list since 2018 when I performed the work with John Butt conducting at Indiana University. "I'm thrilled to bring this exciting, dramatic, and powerful work to the Prescott... For the written story, read here >> https://www.signalsaz.com/articles/arizona-philharmonic-presents-st-john-passion/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Dos factores van a marcar su carrera en la música de esta compositora tártara: uno, la profundidad religiosa de sus composiciones: el otro, las diferencias con la censura del régimen soviético. Recurre a la música electrónica y la mezcla con canciones populares, instrumentos tradicionales y occidentales._____Has escuchadoEt Exspecto: Sonata for Bayan (1986). Friedrich Lips, bayán. Melodiya (1991)Preludes. Con sordino-Senza sordino (1974). Daniele Roccato, contrabajo. WERGO (2013)Sieben Worte (1982). Boris Pergamenschikow, violonchelo; Elsbeth Moser, bayán; Münchener Kammerorchester; Christoph Poppen, director. ECM (2002)Sonnengesang (1997-1998). Ivan Monighetti, violonchelo; Elbtonal Percussion; NDR Chor. BIS (2016)_____Selección bibliográficaHAMRICK BROWN, Malcolm, Sofia Gubaidulina: A Biography. Indiana University Press, 2007IVASHKIN, Alexander, “John Cage in Soviet Russia”. Tempo, vol. 67, n.º 266 (2013), pp. 18-27KURTZ, Michael, Sofia Gubaidulina eine Biographie. Urachhaus, 2001LOCHHEAD, Judy, “Difference Inhabits Repetition: Sofia Gubaidulina's String Quartet No. 2”. En: Analytical Essays on Music by Women Composers: Concert Music, 1960-2000. Editado por Laurel Parsons y Brenda Ravenscroft. Oxford University Press, 2016*LUKOMSKY, Vera, “Sofia Gubaidulina: ‘My Desire Is Always to Rebel, to Swim against the Stream!'”. Perspectives of New Music, vol. 36, n.º 1 (1998), pp. 5-41*—, “‘Hearing the Subconscious': Interview with Sofia Gubaidulina”. Tempo, n.º 209 (1999), pp. 27-31MAHOLETTI, Irina, Musikalisches Spielzeug von Sofia Gubaidulina: Analyse des Klavierzyklus. AV Akademikerverlag, 2013MCCREADY, Anna, “Synoptic Passions: Gubaidulina's St John Passion in the post-Jungian Era”. En: Contemporary Music and Spirituality. Editado por Robert Sholl y Sander van Maas. Routledge, 2017MOODY, Ivan, “‘The Space of the Soul': An Interview with Sofia Gubaidulina”. Tempo, vol. 66, n.º 259 (2012), pp. 31-35SCHMELZ, Peter John, Such Freedom, if Only Musical: Unofficial Soviet Music during the Thaw. Oxford University Press, 2009STÄDTLER, Anja, Der Zyklus “Passion und Auferstehung Jesu Christi nach Johannes” von Sofia Gubaidulina: Werk und kultureller Kontext. Verlag Ernst Kuhn, 2012STOCHNIOL, M., “Intercultural Musical Dialogue in St John Passion by Sofia Gubaidulina”. Interdisciplinary Studies in Musicology, vol. 20 (2020), pp. 41-50 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

On the March 29 Friday LIVE, host Genevieve Randall and guests chat about: Timothy Schaffert's new book and events in Lincoln, including some at Francie and Finch; Abendmusik at First Plymouth's “St. John Passion;" Andy Hall Combo at First Friday Jazz; Crane River Theater's production of "Jersey Boys;" Beatrice Community Players' "Peter and The Starcatcher;" and events at The Merryman Center in Kearney. Also, poetry by Stephanie Coley and a preview of Kaneko's “Rearranged.”

On the March 29 Friday LIVE, host Genevieve Randall and guests chat about: Timothy Schaffert's new book and events in Lincoln, including some at Francie and Finch; Abendmusik at First Plymouth's “St. John Passion;" Andy Hall Combo at First Friday Jazz; Crane River Theater's production of "Jersey Boys;" Beatrice Community Players' "Peter and The Starcatcher;" and events at The Merryman Center in Kearney. Also, poetry by Stephanie Coley and a preview of Kaneko's “Rearranged.”

Camilla Whitehill on her new Channel 4 sitcom Big Mood, starring Nicola Coughlan and Lydia West, which explores the lives of Millennials. Gareth Malone and Hannah French celebrate Bach's St John Passion, which was first performed in Leipzig 300 years ago this Easter. Joel Morris, author of Be Funny or Die, discusses how comedy works and what makes us laugh with Father Ted director Lissa Evans.Presenter: Samira Ahmed Producer: Olivia Skinner

Faith leaders including the Archbishop of Canterbury and Cardinal Vincent Nichols have welcomed a new report which calls for better support for asylum seekers. It comes from a commission set up to consider how refugees might be helped to integrate into society more easily. It makes a series of recommendations and suggests that the current system creates barriers to asylum seekers who want to quickly make good use of their existing skills and qualifications. The government says it's committed to ensuring refugees can take positive steps towards integration as they rebuild their lives in the UK.It's 300 years since J S Bach's setting of the Passion narrative from St John's gospel was first performed on Good Friday at the St Nicholas Church in Leipzig. This week many of the UK's cathedrals and churches will be marking the anniversary by performing it. The composer, conductor and singer, Bob Chilcott celebrates the work and reflects on what is one of the most revered of all musical settings of the Passion. Does religious education at school help young people when they get a job? Lord Karan Bilimoria, a former president of the CBI, thinks it can. He believes RE helps young people to navigate the complexity of modern belief and the diversity of worldviews in the UK today. The businessman, who is from the Zoroastrian tradition, has launched a campaign urging employers to support higher standards in religious education. We hear from Lord Bilimoria, and also from the National Secular Society who feel there are better ways to equip young people for the workforce.Presenter: Edward Stourton Producers: Jonathan Hallewell and Alexa Good Editor: Dan Tierney

City Choir Dunedin presents Bach's St John Passion - Conductor David Burchell previews this weekend's concert which brings City Choir Dunedin together with the Dunedin Symphony Orchestra and six soloists. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

J.S. Bach's St. John Passion is an experience like none other during Holy Week. Dr. Maurice Boyer, Music Director of the American Kantorei, joins Andy and Sarah to talk about Bach's St. John Passion and how it fits into his body of work, why this is an important piece in music history as we celebrate its 300th anniversary, some key highlights of the work, and what will sound familiar to those listening to the work. Learn more about American Kantorei at americankantorei.org. Resources from this episode: The Beginner's Guide to the St. John Passion: witness.lcms.org/2022/a-beginners-guide-to-bachs-st-john-passion St. John Passion from the Netherlands Bach Society: youtube.com/watch?v=zMf9XDQBAaI Sunday, March 24th The Chapel of St. Timothy and St. Titus Concordia Seminary 801 Seminary Place, Clayton, MO 63105 Tuesday, March 26th St. Paul's Lutheran Church 12345 Manchester Road, Des Peres, MO 63131 Additionally, Concordia Seminary is celebrating J.S. Bach in additional ways! You are invited to a celebration of the 300th anniversary of the St. John Passion at Concordia Seminary, St. Louis, beginning with a lecture at 5 p.m. Thursday, March 21, in the Hasse Library and will continue with a concert at 3 p.m. Sunday, March 24 — Palm Sunday — in the Chapel of St. Timothy and St. Titus on the Seminary campus, 801 Seminary Place, St. Louis, MO 63105. The lecture will feature Dr. Maurice Boyer, music director of the American Kantorei. A reception will follow at 6 p.m. in the Hasse Library. The free concert will feature the American Kantorei, with a reception following the performance at 5:30 p.m. in Koburg Hall.p.m. To learn more about the Seminary's annual music events, including the Concordia Seminary Concert Series, please visit csl.edu/music.

The latest edition of Johann Sebastian Bach's lesser-heard 1725 “St. John Passion” (ed. by Prof. Dr. Manuel Bärwald, 2021) will be performed for the first time in Malaysia by the Malaysia Bach Festival Singers and Orchestra, led by conductor Prof. Dr. David Chin. This special version includes some of the most unique and dramatic arias which Bach has ever composed. Bach uses multidimensional and multi-layered music in this timeless masterpiece to explore the meaning of love, friendship, betrayal, pain, suffering, longing, hope, faith, and many other aspects of life which are highly relatable to all humankind. We find out more from renowned Bach scholars, Prof. Dr. Manuel Bärwald (Distinguished Visiting Bach scholar, BachFest Malaysia), and Prof. Dr. David Chin (Founder and Artistic Director, Bachfest Malaysia).

ഇരുനൂറ്റിതൊണ്ണൂറ്റിയൊൻപതുവർഷങ്ങൾക്കു മുൻപുണ്ടായിരുന്ന ഒരു ദുഃഖവെള്ളിയാഴ്ച ദിവസം ജർമനിയിലെ ഒരു ചെറിയപള്ളിയിൽ ഒരു മഹാസംഗീതജ്ഞൻ അവതരിപ്പിച്ച ഒരു സംഗീതശിൽപം പാശ്ചാത്യ ശാസ്ത്രീയസംഗീതത്തിലെ ഒരു നാഴികക്കല്ലായിമാറി. 2023 ലെ ദുഃഖവെള്ളിയാഴ്ച ദിവസം സെബാസ്റ്റ്യൻ ബാഹിന്റെ (Johann Sebastian Bach ) St John Passion കേട്ടതിന്റെ പോഡ്‌കാസ്റ്റ് അനുഭവത്തിലേക്ക് സ്വാഗതം . 1724 ൽ യോഹന്നാന്റെ സുവിശേഷത്തിലെ 18 ഉം 19 ഉം അദ്ധ്യായങ്ങളെ മുൻനിർത്തി ബാഹ് സംവിധാനം ചെയ്തതാണ് ഈ സംഗീതശിൽപം . ഇതിനാൽ നിവൃത്തിയാകുന്നു. സ്നേഹത്തോടെ എസ് . ഗോപാലകൃഷ്ണൻ ദുഃഖവെള്ളി. ഏപ്രിൽ 07 , 2023 ഡെൽഹി https://www.dillidalipodcast.com/

Audio of a Christians in Parliament service of music and reflection with movements from Bach's St John Passion, with music led by St Martin's Voices from St Martin-in-the-Fields and reflections from Revd Mark Harris, on Tuesday 28th March in the Chapel of St Mary Undercroft.

In this 35th episode of Merely Catholic, the podcast series for The Catholic Herald, Dr Gavin Ashenden talks to Simon Johnson, the Master of Music at Westminster Cathedral and a man described as “one of the most versatile musicians of his generation”. Mr Johnson is a virtuoso organist with extensive work in choral direction, composition and arrangement and for 13 years he also served as the Organist and Assistant Director of Music at St Paul's Cathedral. Together they explore what liturgical music is and what it does ahead of preparations by the world-famous Westminster Cathedral Choir and Orchester, for which Mr Johnson is responsible, for a mesmerising performance of St John Passion by J.S. Bach in the cathedral on Thursday March 16.

In April 2022, Bach Society Houston premiered a new American English translation of the St. John Passion. On today's episode, we'll hear from the collaborators who brought this innovative project to life over years of workshops and dialogue by phone, zoom, text and email: Madeleine Marshall, translator; Ryan Rogers, scribe; and Rick Erickson, Artistic Director of Bach Society Houston. The April 2022 premiere can be viewed here.  

The Passio secundum Joannem or St John Passion, BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the older of the surviving Passions by Bach.  It was written during Bach's first year as director of church music in Leipzig and was first performed on April 7, 1724, at Good Friday Vespers at the St. Nicholas Church.Purchase the music (without talk) at:Bach: St. John Passion (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

A dark and imposing masterwork like the St. John Passion needs a moment of joyful reprieve. That reprieve comes in the form of the soprano aria ”Ich folge dir gleichfalls mit freudigen Schritten" (I too, follow you with joyful steps), in which we hear light flutes bouncing their steps. But even this happy sound comes with a strange chromatic ascent as the soloist sings "do not cease to push me, to pull me...". The St. John Passion is partly an instructive drama about how to follow Jesus; Peter must do his best at this despite his faults and denials. With this moment in this aria, we are dramatically pulled by Christ back into his own passion story.    St. John Passion: ”Ich folge dir gleichfalls” aria as performed by the Netherlands Bach Society: https://youtu.be/zMf9XDQBAaI?t=1315

Today we take our first dive into the St. John Passion.  In the very first measure of music, the strikingly twisted sounds of the oboes in harsh dissonances calls to mind the pain and anguish of the Passion story.  The scene is set for Good Friday. Bach's St. John Passion, performed by the Netherlands Bach Society, conducted by Jos van Veldhoven: https://www.youtube.com/watch?v=zMf9XDQBAaI Article on the St. John Passion by Alex Ross (quoted in this episode from 0:41 - 1:49): https://www.newyorker.com/magazine/2017/01/02/bachs-holy-dread IMSLP (International Music Score Library Project) page for Bach's St. John Passion free public domain scores, including scans of Bach's original manuscript: https://imslp.org/wiki/Johannespassion,_BWV_245_(Bach,_Johann_Sebastian)  

In this episode of Tea with Netty, Mark Padmore joins our host to discuss our co-production with Marquee TV of Bach’s St John Passion. Mark first did the St John Passion with us in 2005 and has revisited it over the years. Netty and Mark discuss their deeper understanding of the music and where they hope to go with it in the future.Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger...), Netty chats with a variety of conductors, players and other guests as she 'spills the tea' on the side of classical music you don't normally hear.

The South Dakota Symphony Orchestra's performance of Haydn's The Seven Last Words of Christ on the Cross begins at the 1:22:40 mark here:https://www.facebook.com/SDSymphony/videos/923279091767716/To listen to Mark's podcast with SDSO's Maestro Delta David Gier about Bach's St John Passion, visit: https://www.hearingthemusic.org

യേശു അതീവശ്രദ്ധാലുവായിരുന്ന വെള്ളിയാഴ്ച: ഒരു സംഗീതശിൽപത്തെക്കുറിച്ചൊരു പോഡ്കാസ്റ്റ് ഇന്ന് ദുഃഖവെള്ളി . 1724 ൽ സെബാസ്റ്റ്യൻ ബാഹ് (Johann Sebastian Bach ) എന്ന സംഗീതജ്ഞൻ തന്റെ സംഗീതശിൽപത്തിൽ പാടി യേശു ആ വെള്ളിയാഴ്ച അതീവശ്രദ്ധാലുവായിരുന്നു എന്ന് . അതീവശ്രദ്ധാലു ! ഈ പോഡ്കാസ്റ്റ് ചെയ്യുമ്പോൾ ആ വാക്കിൽ ഞാൻ തങ്ങിനിൽക്കുന്നു . ക്രൂശാരോഹണത്തെ സംബന്ധിച്ച് എഴുതപ്പെട്ട എക്കാലത്തെയും മഹത്തായ സംഗീതശിൽപം : St John Passion എന്ന സംഗീതശിൽപം. പിലാത്തോസും ബറാബ്ബാസും മുൾക്കിരീടമണിഞ്ഞ യേശുവും വിധിമുറിയും കടന്നുവരുന്ന Passion . ഈ സംഗീതശിൽപം ആദ്യം അവതരിപ്പിക്കപ്പെട്ട ലൈപ്സിഗ്ഗിലെ നിക്കോളാസ്‌ പള്ളിയിൽനിന്നും 1989 ൽ പുറപ്പെട്ട ഒരു ജനയാത്രയാണ് ബെർലിൻ ഭിത്തി തകർത്തതെന്നും നമുക്കോർക്കാം ... ഒരു ദുഃഖവെള്ളി പോഡ്‌കാസ്റ്റിലേക്ക് സ്വാഗതം . സ്നേഹത്തോടെ എസ് . ഗോപാലകൃഷ്ണൻ ഡൽഹി, 2 ഏപ്രിൽ 2021 dillidalipodcast.com

Dr. Maurice Boyer, professor of music at Concordia University Chicago and director of the American Kantorei, joins Andy and Sarah to talk about J.S. Bach's St. John Passion, including his own experiences with this piece, the history and text of the piece, several of the theological nuances in the piece, and a few of the high points to listen for. Find the full text here, for you to follow along as you listen: emmanuelmusic.org/notes_translations/translations_cantata/t_bwv245.htm Reference the excepts mentioned in the episode here: Opening chorus: youtube.com/watch?v=XUxyy8NJwkk Chiastic center: youtube.com/watch?v=cgFVVXD5_u8 Es ist vollbracht: youtube.com/watch?v=0pHLOU8Zqjk Ach, Herr, lass dein lieb Engelein: youtube.com/watch?v=vSHnf-QKUyY View the full Passion YouTube from Collegium Vocale Ghent and Philippe Herreweghe, one of the greatest interpreters of Bach's music. This is the dress rehearsal from a performance that was to have taken place last Spring but was cancelled due to COVID. youtube.com/watch?v=w2LakofZAhw

Today I am talking to Alexander Simpson and Helen Daniels who are both classical singers and presenters on the podcast “Where's My Freaking Dressing Room?!” In our chat we talk about a variety of topics regarding the impact that the pandemic has had on young singers and how a shift in time management has revolutionised the way in which Alexander and Helen approach their work.British countertenor Alexander Simpson is a versatile young singer who enjoys performing a wide range of repertoire and styles.Recent operatic roles include Nireno Giulio Cesare (English Touring Opera), Cowslip Fairy Queen (Waterperry Opera Festival), Athamas Semele (Royal Academy of Music), Arsace Partenope (Iford Arts Festival), Arcane Teseo (London Handel Festival) and Refugee Flight (Royal Academy Opera).Alexander studied at the Royal Academy of Music where he was awarded a full scholarship and graduated with a DipRAM for an outstanding final recital. He later graduated from Royal Academy Opera where he studied with Michael Chance, Caitlin Hulcup and Anna Tilbrook.In addition to his singing commitments, Alexander has trained to become a Life Coach. He firmly believes that the industry should be made more accessible for all musicians and has set up a new ‘holistic approach' towards singing as a career. His aim is to encourage singers to understand themselves properly as individuals and then apply these discoveries to their career so that they are able to navigate a career that is successful and fulfilling rather than being tossed randomly from one job to another.Together with his friend and colleague Helen Daniels, Alexander has co-created a podcast entitled ‘Where's My Freaking Dressing Room?!' which encourages classical musicians to chat honestly about previous experiences in order to create a community which is more supportive and connected.Helen Daniels is a mezzo-soprano from Coventry, currently studying at Trinity Laban Conservatoire of Music and Dance with Sarah Pring where she is an Eva Malpass scholar. Under Trinity Laban's tuition she has performed in the nationally renowned Huddersfield Contemporary Music Festival and taken part in online masterclasses with Barbara Hannigan, Gidon Saks, Christopher Underwood and Robert Alderson. She is looking forward to playing Rosina, Il barbiere di Siviglia; Nancy, Albert Herring and Ursule, Béatrice et Bénédict in the college's opera scenes showcase later this year.Alongside her studies Helen is a professional ensemble singer and has performed with many celebrated groups including Classical Opera, Philharmonia Voices, The Hanover Band, City Bach Collective and Sansara. In January 2020 Helen founded a chamber female vocal ensemble with harp, Levedy, who won the inaugural Trinity Laban Carne Trust Chamber Music Competition in October 2020.Helen read academic music at Gonville and Caius College, Cambridge, where she sang with Trinity College Choir under the direction of Stephen Layton. Solo performances include Haydn's Nelson Mass, Bach's St John Passion, Handel's Messiah and Vivaldi's Gloria.In summer 2020 Helen partnered with a close friend and colleague, Alexander Simpson, to record and produce a classical music podcast entitled ‘Where's My Freaking Dressing Room?!' The podcast encourages classical musicians to talk openly about their experiences of the industry in order to create a more supportive and interconnected musical community.Instagram: @helendanielsmezzohttps://www.wheresmyfreakingdressingroom.com/https://www.alexandersimpsonlifecoach.com/

"Sing like you're being tortured." Roderick Williams shares his experience working with Peter Sellars on the St John Passion; the taste of Southbank's Royal Festival Hall floor and weeping with forgiveness for a savage choir.Later in the conversation, Netty and Roderick reminisce on their recent performance of Bach's Ich Habe Genug without an audience. Roderick talks about the bourée that he composed in tribute to Bach and confesses to his survivalist tendencies in the kitchen.___Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger...), Netty chats with a variety of conductors, players and other guests as she 'spills the tea' on the side of classical music you don't normally hear.

[@6min] If you feel like you’ve been spending a lot of time alone, try singing all the parts of a Bach Passion by yourself. Creative consultant Oliver Camacho has an exclusive interview with the co-creator and star of Bachfest Leipzig’s “St John Passion for solo tenor, harpsichord, organ, and percussion” Icelandic tenor Benedikt Kristjánsson... [@41min] There was plenty of March Madness a few months ago, and that was without any basketball. But while the NCAA Final Four was cancelled, Michigan Opera Theater posted its own opera bracket on Instagram in mid-April. The OBS team works through that very bracket over the next three shows, picking winners of the ultimate opera showdown... [@1h35min] In the ‘Two Minute Drill’, it’s opera. At the drive in. In London, of all places… We’re continuing to document all things opera-related in the time of corona, and we want to hear your voice. Are you an employee of the opera world, whose work has been affected by COVID-19? A fan who’s desperate to see something live in person? Let us know how you are coping with your own stay-at-home order. Send your message or voice memo of up to sixty seconds to operaboxscore@gmail.com and we might feature you on our show… www.facebook.com/obschi1 www.operaboxscore.com @operaboxscore

This episode includes our entire interview with musicologist Marcel Zwitser about Bach’s Bible and the artistry of the St John Passion.

In this episode, novelist and pastor J. Mark Bertrand joins SDSO music director Delta David Gier in an exploration of Part 1 of Bach’s St John Passion, which begins with the arrest of Jesus and ends with Simon Peter’s three-fold denial. The principal text comes from John 18.1-27.

In the final episode, covering the narrative from John 19.30-42, Mark and David reflect on the final movements of Bach’s St John Passion. The music asks the question, “How should I respond to the death of Christ?”

St John Passion (10.30am)

St John Passion (10:30am)

St John Passion (10:30am)

We'll look at part 2 of Bach's St. John Passion.

St John Passion (10.30am)

Toby Jones tells us about turning his hand to writing for the new six part BBC2 TV series, Don't Forget The Driver. It's a dark and poignant comedy about Brexit Britain, set in a coach company in Bognor Regis. The latest DC comics film Shazam! flies into cinemas this week. Originally published as a comic strip in 1939, it's the story of Billy Batson, a normal 14-year-old who is given the ability to transform into an adult superhero just by uttering the magic word “Shazam!”. Film critic Larushka Ivan Zadeh will tell us whether or not it's any good.At Easter, choirs across the country prepare to perform Bach's St John and St Matthew Passions. We explore the significance of these intense and monumental works. Kirsty is joined by director Peter Sellars, who is staging the St John Passion at London's Royal Festival Hall conducted by Sir Simon Rattle, and music historian Hannah French. 6 April Tewkesbury Abbey – St John Passion – City of Birmingham Choir 7 April Royal Festival Hall – St Matthew Passion – Bach Choir 13 April Kings Place London - St Matthew Passion - Feinstein Ensemble 14 April Plymouth Guildhall – St Matthew Passion - Plymouth Philharmonic Choir 14 April Merton College Oxford – St Matthew Passion 14 April Durham Cathedral – St John Passion 14 April Tremeirchion Church St Asaph – St Matthew Passion 16 April St Georges Bristol – St Matthew Passion – Ex Cathedra 17 April Salisbury Cathedral – St Matthew Passion 18 April Aberdeen Music Hall – St Matthew Passion – Dunedin Consort 19 April Coventry Cathedral – St John Passion 19 April Leeds Minster – St John Passion 19 April The Queens Hall Edinburgh – St Matthew Passion – Dunedin ConsortPresenter: Kirsty Lang Producer: Oliver Jones

We'll look at part 1 of Bach's St. John Passion, BWV 245.

Tune in with Sam and Tim on J. S. Bach's birthday as they discuss his St John Passion, Brexit protest at the Royal Albert Hall and possibly the best ever Welsh composer. We also chat to Oskar McCarthy of Festival Voices about their upcoming gig at the Bussey Building. Music Credits:‘Happy Birthday Fugue' by Giovanni Dettori, performed by Katarzyna Preisner ‘Maria' from West Side Story by Leonard Bernstein, performed by Timmy Fisher ‘Ach, mein Sinn, wo willt du endlich hin' from J. S. Bach's St John Passion, performed by Colin Baldy and Collegium Novum under Edward Higginbottom ‘Rocket Man' performed by William Shatner, broadcast by Classic Chicago Television ‘I. Poco adagio - Allegro con brio - Poco adagio' from Grace Williams' Sextet for Oboe, Trumpet & Piano Quartet, performed by Madeleine Mitchell and the London Chamber Ensemble ‘Dixit Dominus' by George Frideric Handel, arranged by Festival Voices Sibelius 5th Symphony Mov. 1, arranged by Timmy Fisher Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/ The Edinburgh International Festival's lineup this summer: https://www.eif.co.uk/festival-guide Festival Voices: https://www.festivalvoices.com/ And their crowdfunding page: https://www.justgiving.com/crowdfunding/festivalvoices

St John Passion (10.30am)

St John Passion (10:30am)

St John Passion (10.30am)

Episode 5 of the Thoroughly Good Classical Music Podcast features conductor Damian Irorio, currently the music director of the Milton Keynes City Orchestra, and Alexander van Ingen of the Academy of Ancient Music. The Academy of Ancient Music will be playing Bach’s St John Passion on Good Friday at 3pm at the Barbican.

04 01 2018 - Herr Unser Herrscher from St. John Passion by Snowmass Chapel

Episode 5 of the Thoroughly Good Classical Music Podcast features conductor Damian Irorio, currently the music director of the Milton Keynes City Orchestra, and Alexander van Ingen of the Academy of Ancient Music. The Academy of Ancient Music will be playing Bach’s St John Passion on Good Friday at 3pm at the Barbican.

Over the last 20 years Mark Padmore has established a reputation as one of Britain's most outstanding tenors. His performances combine emotional power with intellectual rigour; and he's not afraid to take risks by appearing in challenging new productions. He travels the world performing repertoire that includes Schubert lieder, Handel and Harrison Birtwistle, and many leading contemporary composers have written pieces especially for his voice. What makes Mark Padmore especially fitting as an Easter guest for Private Passions is his mastery of the role of the Evangelist in Bach's St Matthew and St John Passions. In Private Passions he talks to Michael Berkeley about why there is always something new to discover in Bach's Passions, and reflects on the extraordinary fact that Bach himself only heard the St John Passion four times. He reveals - and sings - his favourite, haunting lines of Schubert. He introduces us too to other composers whose work excites him; we hear songs by John Cage and Ryan Wigglesworth and an exuberant percussion piece by the Serbian composer Nebojsa Zivkovic. And Padmore confesses that if he hadn't been a singer, he would have liked to be ... a thatcher. Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

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.

On Good Friday (25Mar2016) Songs of Hope presented a special program to mark Good Friday. Chris Whiting broadcast excerpts from “St John Passion” of Christ by J S Bach. The recording was by Kings College Choir in Cambridge. The soloists were: Evangelist John – Mark Ainslie Christ – Stephen Richardson Alto – Michael Chance Tenor … Continue reading "St John Passion podcast"

Richard Egarr talks to Martin Cullingford about recording Bach's St John Passion with the Academy of Ancient Music on the ensemble's own label

Tenor James Gilchrist shares his thoughts on JS Bach's St John Passion, including the role of the Evangelist, the benefits of performing on period instruments and the reasons why this masterpiece "lives for me time and time again".James takes the role of the Evangelist in the AAM's recording of the Passion released Easter 2014 (digital version on 4 March, physical version on 31 March). Find out more at www.aam.co.uk/stjohnpassion

Producer Philip Hobbs shares his thoughts on JS Bach's St John Passion, including his role in the recording process and how moments in this new release will “make shivers run up and down your spine”. Phil produced the AAM's recording of the Passion released Easter 2014 (digital version on 4 March, physical version on 31 March). Find out more at www.aam.co.uk/stjohnpassion

JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" 
. www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" 
(PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art 
, 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" 
. Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" 
. baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company

Both recordings are beautifully done, but there are different choices in their interpretations which set each apart.

BAL: Bach St John Passion - Simon Heighes recommends a recording