Erbarme dich, mein Gott, Aria, No. 39 from St. Matthew Passion (Alto Part)
Contents:
Ingeborg Reichelt ; Alto: Maria Helbling ; Tenor: Theo Altmeyer ; Bass: For He is risen: Valentina Levko Melodiya Late ? Magda Olivero ; Francesco Catena Organ? Listen to this performance on YouTube: Ich will hier bei dir stehen 5. Was mein Gott will 6. So ist mein Jesu nun gefangen 7. Sind Blitze, sind Donner Side B: Und wiewohl falsche Zeugen — Jesu Verurteilung und Geisselung 3. Wer hat dich so geschlagen 4. Wie wunderbarlich ist doch dies Strafe — Jesu Kreuzigung 6.
Nun ist der Herr zur Ruh gebracht 8. Karl-Peter Maus; Bass [Christ]: Peter Lika ; Soprano: Ute Maria Kellner; Alto: Elly Ameling ; Contralto: Janet Baker ; Tenor: Neil Jenkins ; Bass: Recorded at The Priory Church of St. Bartholomew-the-Great, West Smithfield, England. M The Bach Gamut: Historic Concert Recording, Vol. Bernadette Greevy sings Bach Arias [C-1]. A Christ Cycle at Paisley Abbey. Galina Borisova ; Violin: Aria for Soprano Blute nur, du liebes herz Mvt.
Taru Valjakka ; Organ: Recorded and mixed at Fendal-Sound Studios, Holland. M Bach and Handel arias [C-1]. Aria for Soprano Mvt. Tatiana Sterling ; Organ: Recitative [T, B] , Mvt. Taru Valjakka ; Alto: Pertti Saurola Suomen Laulu ? Mira Zakai ; Violin: M Bach - Handel: Claire Hamill ; Keyboards: Tim Cross New Age Time: Recorded in Zagreb, Yugoslavia.
Aria for Soprano Aus Liebe… Mvt. Paul Esswood Allegro May Time: John's Smith Square, London, England. M Bach hits Back, a new a cappella tribute [C-3]. Aria for Soprano Blute nur Mvt. Helen Massey, Deryn Edwards; Altos: Linda Stevens, Heather Cairncross; Tenors: Andrew Bushner, Jonathan Rathbone; Basses: M 21 st Century Bach - Selections from the cantatas of J. Bach, realised to computers by Kathy Geisler [C-1]. Ulrike Sonntag ; Alto: Cornelia Kallisch ; Tenor: Alexey Martynov; Bass [Jesus]: Natalia Burnasheva; Bass [Arias]: The concerts were sponsored by Moscow German Lutheran Community.
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M Bach Cantatas and Arias [C-2]. Recitative for Bass Am abend Mvt. M Orchestral Excerpts for Oboe [C-1]. John Mack Summit Time: Yolanda Auyanet ; Piano: M Orchestral Excerts for Flute. New York Philharmonic Flute: Jean Baxtresser Summit Time: David Westfall Arkay Time: In memoriam, Wilfred C. Daniel Taylor ; Oboe d'amore: M Lifting the Veil.
Aria for Bass Gerne will ich mich bequemen Mvt. M Essential Bach [C-3]. James Bowman ; Violin: David Woodcock Hyperion Time: M Music for Productivity [C-1]. Jozsef Mukk ; Baritone [Jesus]: Judit Nemeth ; Tenor: Chorale Befiehl du deine Wege Mvt. Recorded at Evangelische Stadtkirche Pforzheim, Germany. Aria for Alto Buss' und Reu' Mvt. M Music for a Cathedral's Year [V-1]. Chorale Wenn ich einmal soll scheiden Mvt. Recorded at Plechelmus Basiliek Oldenzaal. Algirdas Janutas ; Bass: Recorded at the Sisterd of St. Excerpt from Sehet, Jesus hat die Hand Mvt.
Gold Disc W. Prague Philharmonic Orchestra Violin: Monique Simon ; Violin: Transcriptions for Oboe and Orchestra Lieder ohne Worte: Aria for Bass Mache dich, mein Herze, rein Mvt. M Soli Deo Gloria: The Music of Bach and Others [C-1]. M Coming Bach for Flute, Vol. Recitative for Soprano 'Er hat uns allen wohlgetan' Mvt. Aria for Bass Gebt mir meinen Jesum wieder Mvt. Erbarme dich, mein Gott [5: Adelheid Vogel ; Baritone: Recorded live at Dom St. Stephanus, Halberstadt, Saxony-Anhalt, Germany. CDs and live recordings M Directed by Jean-Philippe Perrot.
Sound recording, editing and artistic direction: Jansen Utrechts Stedelijk Orkest Soprano: Annette de la Bije Philips?
Maria Stader Archiv Produktion? M The Best of Bach.
M Music Masterpieces before Vol. Volmer Norup Haydn Society? CD Buy this album at: Jenny Simon Melodiya ? Role of the Evangelist Individual Recordings: BWV - L. Recitative Evangelist, Mary Magdalene, Peter: Wahrlich, du bist auch einer von denen 38c. Da hub er an, sich zu verfluchen Erbarme dich, mein Gott Bin ich gleich von der gewichen 41a. Des Morgens aber hielten alle Hohepriester 41b. Was gehet uns das an 41c. Recitative Evangelist, High Priests: Und er warf die Silberlinge in den Tempel Gebt mir meinen Jesum wieder Recitative Evangelist, Pilate, Jesus: Sie hielten aber einen Rat Befiehl du deine Wege 45a.
Recitative Evangelist, Pilate, Pilate's Wife: Auf das Fest aber hatte der Landpfleger Gewohnheit 45b. Wie wunderbarlich ist doch diese Strafe! Der Landpfleger sagte Er hat uns allen wohlgetan Aus Liebe will mein Heiland sterben 50c. Da aber Pilatus sahe 50d. Da gab er ihnen Barrabam los Da nahmen die Kriegsknechte 53b. Und speieten ihn an O Haupt voll Blut und Wunden Und da sie ihn verspottet hatten Ja freilich will in uns das Fleisch und Blut Der du den Tempel Gottes zerbrichst 58c. Andern hat er geholfen Ach Golgatha, unselges Golgatha! Sehet, Jesus hat die Hand 61a.
Und von der sechsten Stunde an 61b. In between the sections or scenes of the Gospel text, other texts are sung as a meditation or underlining the action, in a variety of formats:. The work is divided into two parts to be performed before and after the sermon of the Good Friday service. The first scenes are in Jerusalem: Jesus announces his death No. A scene in Bethany No. The next scene No. In a great contrast of mood the preparation for the "Easter meal" Osterlamm is described No. After the meal they go together to the Mount of Olives No.
At the garden of Gethsemane No. It is there No.
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While soprano and alto mourn in duet, No. In a dramatic highpoint of the Passion, [16] [17] the chorus No. The next call by Chorus I is Seht ihn See him! The dialogue with these questions is repeated, and then, from measure 30, Chorus I sings the text of the incipit again while in ripieno sopranos sing the first two lines of Nikolaus Decius ' chorale " O Lamm Gottes, unschuldig " O Lamb of God , innocent as the cantus firmus. All sentences of the first stanza of Decius' hymn are used as cantus firmus throughout the movement by the ripienists. The opening chorus continues by taking up the questions and answers by Chorus I and II again, now adding: When the cantus firmus has died out, Chorus I and II return to the first three lines of the text, from measure 82 until the conclusion of the chorus in measure After a few words of introduction by the Evangelist, the first words of Christ, set as an accompagnato recitative with slow strings, contain an ominous prediction of his imminent fate.
The first two lines of the hymn are a rhetorical question: Recitative with Chorus II: Was ist die Ursach aller solcher Plagen? Ich will bei meinem Jesu wachen for tenor. Aria for soprano and alto with Chorus II: The sopranos sing the cantus firmus, the other voices interpret aspects of the narration.
Jansen Utrechts Stedelijk Orkest Soprano: Ein deutsches Requiem [V-1]. John's Smith Square, London, England. Historic Concert Recording, Vol. Recorded at Plechelmus Basiliek Oldenzaal.
In the and — versions, a ripieno soprano choir was added to the soprano line. Jesus is silent to this, but his answer to the question if he is the Son of God is considered a sacrilege calling for his death. Outside in the courtyard No. In the morning No. Pilate interrogates Jesus No. But the crowd, given the choice to have Jesus released or Barabbas , a thief, insurrectionist and murderer, asks with one voice "Barrabam!
Passion According to St. Matthew, BWV244
They vote to crucify Jesus, Pilate gives in, washing his hands claiming his innocence, and delivers Jesus to torture and crucifixion. On the way to the crucifixion site No. Even his last words are misunderstood. Matthew describes the tearing of the Temple curtain and an earthquake — set to music by Bach.
In the evening No. The following day No. Part Two is opened by a dialog between the alto soloist deploring her lost Jesus and choir II offering help in searching for him, quoting Song of Songs 6: Highly contented, there the eyes fall asleep.
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The St Matthew Passion was not heard in more or less its entirety outside of Leipzig until , when the twenty-year-old Felix Mendelssohn performed a version in Berlin , with the Berlin Singakademie , to great acclaim. Mendelssohn's revival brought the music of Bach, particularly the large-scale works, to public and scholarly attention although the St John Passion had been rehearsed by the Singakademie in Appreciation, performance and study of Bach's composition have persisted into the present era.
The Passion was performed under the Cantor of St. Thomas until about Matthew, and "possibly the St. In Felix Mendelssohn 's maternal grandmother Lea Salomon had given him a copy of the score of the Passion. Zelter had a supply of J. Bach scores and was an admirer of Bach's music but he was reticent about any public performances.
When Felix Mendelssohn was preparing his revival performance of the Passion in in Berlin the first performance outside Leipzig , he cut out "ten arias about a third of them , seven choruses about half , [but] only a few of the chorales," which "emphasized the drama of the Passion story In Felix and a few friends began weekly sessions to rehearse the Passion. Devrient was especially enthusiastic, hoping to sing the part of Jesus as he eventually did. Zelter was reluctant but eventually gave his approval; that of the Singakademie board followed.
Once the fuller group of singers and the orchestra were brought in, Devrient recalled, participants were amazed at "the abundance of melodies, the rich expression of emotion, the passion, the singular style of declamation, and the force of the dramatic action. Their first performance was effectively publicized in six consecutive issues of the Berliner Allgemeine Musikalische Zeitung , founded and edited by Adolf Bernhard Marx. There was a second performance on 21 March, also sold out. In a third, on 18 April, Zelter conducted, and soon there were performances in Frankfurt where a previously projected performance of the Passion had been upstaged by those in Berlin and in Breslau and Stettin.
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William Sterndale Bennett became a founder of the Bach Society of London in with the intention of introducing Bach's works to the English public. The soloists included Charlotte Helen Sainton-Dolby. Excerpts of the work were performed on the American television program Omnibus on 31 March in the episode "The Music of J. The St Matthew Passion has been presented in staged performances. Typically, these are done with all performers in street clothes or neutral costumes, the orchestras on stage, at least the soloists singing without scores from memory, and the words acted out in a solemn, melodramatic fashion with only a minimal stage set.
Notable staged performances include Jonathan Miller 's production in English. From Wikipedia, the free encyclopedia. For other uses, see St Matthew Passion disambiguation. Bach's choir and orchestra.