J.S. Bach and the Oratorio Tradition by Daniel R. Melamed

By Daniel R. Melamed

 As the professional book of the yank Bach Society, Bach Perspectives has pioneered new components of analysis within the lifestyles, occasions, and song of Bach in view that its first visual appeal in 1995. quantity eight of Bach Perspectives emphasizes where of Bach's oratorios of their repertorial context.

These essays reflect on Bach's oratorios from various views: with regards to versions, antecedents, and modern traits; from the perspective of musical and textual kinds; and from analytical vantage issues together with hyperlinks with instrumental track and theology.

Christoph Wolff indicates the prospect that Bach's 3 festive works for Christmas, Easter, and Ascension Day shape a coherent crew associated through liturgy, chronology, and style. Daniel R. Melamed considers the various ways that Bach's ardour track used to be encouraged via the recognized poetic ardour of Barthold Heinrich Brockes. Markus Rathey examines the development and position of oratorio activities that mix chorales and poetic texts (chorale tropes). Kerala Snyder exhibits the connections among Bach's Christmas Oratorio and certainly one of its types, Buxtehude's Abendmusiken unfold over many evenings. Laurence Dreyfus argues that Bach idea instrumentally within the composition of his passions on the fee of definite elements of the textual content. And Eric Chafe demonstrates the modern theological history of Bach's Ascension Oratorio and its musical realization

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12c) incorporates words from Matthew 26:75 ending with “und weinete bitterlich,” the cue for “Ach, mein Sin” (and in later versions for other pieces). 39 Just after Jesus’s death (no. 33), Bach and his collaborator originally inserted lines from Mark 15:38 that describe the rending of the temple veil and other events. 41 But in the early eighteenth century the conflation of gospels made itself most strongly felt in poetic passion texts like Brockes’s, whose title page refers prominently to its construction “aus den IV.

23. Die Jüden aber . . auf Ebräisch: Golgatha 25. Allda kreuzigten sie ihn . . das habe ich geschrieben. 26. In meines Herzens Grunde [approx. end of Pilatus] 27. Die Kriegsknechte aber . . das ist deine Mutter! 28. Er nahm alles wohl in acht 29. Und von Stund an . . Es ist vollbracht! 31. Und neiget das Haupt und verschied 33. Und der Vorhang im Tempel . . von obenan bis untenaus. 36. Die Jüden aber . . sie gestochen haben 37. O hilf, Christe, Gottes Sohn [end of Crux] 38. Darnach bat Pilatum Joseph .

The listener perceives—for the first time—the two layers in succession and thereby hears them as a single sentence, “O you dear Lord! You can, in agony, it is true, say nothing” (Example 1). When Bach revised the St. John Passion for a performance on Good Friday 1725, he not only replaced the framing movements with two elaborated hymn settings, but also inserted two new arias, one of them a chorale trope, which was placed after movement 11: “Himmel reiße, Welt erbebe” (Heaven tear apart, world quake).

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