Bach Perspectives, Volume 8: J.S. Bach and the Oratorio by Daniel R. Melamed

By Daniel R. Melamed

 As the reputable ebook of the yankee Bach Society, Bach Perspectives has pioneered new components of study within the lifestyles, occasions, and track of Bach seeing that its first visual appeal in 1995. quantity eight of Bach Perspectives emphasizes where of Bach's oratorios of their repertorial context.

 
These essays think of Bach's oratorios from a number of views: with regards to versions, antecedents, and modern traits; from the viewpoint of musical and textual forms; and from analytical vantage issues together with hyperlinks with instrumental song and theology.
 

Christoph Wolff indicates the prospect that Bach's 3 festive works for Christmas, Easter, and Ascension Day shape a coherent team associated by means of liturgy, chronology, and style. Daniel R. Melamed considers the numerous ways that Bach's ardour tune was once prompted by means of the well-known poetic ardour of Barthold Heinrich Brockes. Markus Rathey examines the development and function of oratorio events that mix chorales and poetic texts (chorale tropes). Kerala Snyder indicates the connections among Bach's Christmas Oratorio and considered one of its types, Buxtehude's Abendmusiken unfold over many evenings. Laurence Dreyfus argues that Bach notion instrumentally within the composition of his passions on the rate of sure features of the textual content. And Eric Chafe demonstrates the modern theological historical past of Bach's Ascension Oratorio and its musical realization

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Extra resources for Bach Perspectives, Volume 8: J.S. Bach and the Oratorio Tradition

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The aria no.  This analysis suggests that chorales are used in this work largely for structural articulation, marking the beginning or end of each of the two parts, and closing off each of the actus. Only a fraction of them—nos. 3, 11, 17, and 28—are used in the manner of free poems to comment on moments within an actus.  Weise reported that he had constructed the text to fit an Intrada composed by his friend Sebastian Knüpfer. Knüpfer was already Thomascantor by the time of Weise’s arrival at Leipzig University in 1660, and it is likely that the two men knew each other from there.

John Passion bwv 245 (1724) Gospel text/Chorale interpolations Free poetic interpolations Notes 1. Herr, unser Herrscher, dessen Ruhm New (unknown); in place of orig. opening text 2. Jesus ging mit seinen Jüngern . . so lasset diese gehen! 3. O große Lieb, o Lieb ohn alle Maße 4. Auf dass das Wort . . mein Vater gegeben hat? 5. Dein Will gescheh, Herr Gott, zugleich [end of Hortus] 6. Die Schar aber . . umbracht für das Volk. 7. Von den Stricken meiner Sünden Brockes (GS); originally opening text, 8.

But from a textual point of view, if all the recitatives and arias are for Daughter Zion, that would mean that voices in Chorus 2, when functioning individually in recitatives and arias, represent that character just as the voices in Chorus 1 do; and that Chorus 2 stands for the Believers only when it is used as a four-voice group in dialogue pieces. This would certainly challenge interpretations that distinguish the words of the allegorical characters from other commentary movements.  This was noted at least as early as Philipp Spitta, Johann Sebastian Bach, 2 vols.

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