![]() ![]() ![]() ![]() Survive, we find four principal parts (Soprano, Alto, Tenor Evangelist,Īnd Bass Jesus, all in Chorus 1) containing essentially all the Gospel In the original parts for this work, which also This organization is intimately connected with the conception of vocalįorces discussed earlier. In a few pieces (including the opening and closing numbers) Bach uses all four voices of Chorus 1 and answers them with the four voices of Chorus 2. Matthew Passion texts, Bach has one side of the dialogue sung by a soloist from one group (Chorus 1) and the other side sung by the entire four-part ensemble of the other group (Chorus 2). Matthew Passion by providing the work with two complete SATB vocal ensembles, expanding on the principle he used in the aria from the St. That movement evidently served as a model for the many dialogues in the new piece, and I am convinced that they represent Bach's starting point for his design of the work overall.īach handled the dialogue texts in the St. John Passion just mentioned is, in fact, a dialogue between those same two allegorical characters this is specified in the source from which Bach and his librettist borrowed the text. Each of its most important commentary movements is cast as an allegorical dialogue between the Daughter of Zion and the Believers. John Passion was an inspiration for Bach, and for Christian Friedrich Henrici, the librettist of the St. It appears that this very aspect of the St. Realized as a musical conversation between the bass soloist and the ripieno This is an exceptional use of vocalįorces that Bach specified because the text of this movement is a dialogue, Bach's scoring creates the slightly contradictoryĬase of an essential ripieno group. Three lines.) Second, this movements requires the presence of the ripienoĮnsemble because there are two vocal bass lines in this piece, one for ![]() Only the bass is entirely on his own - the concertists double the other This scoring gives the ripieno group something slightly independent toĭo: they sing a four-part chorale essentially on their own. Overlays a hymn harmonized in four parts. It combines a solo bass singing an aria with the ripieno group, which John Passion, the aria "Mein teurer Heiland." The best way to understand the work's construction is to consider a famous This aspect of the work is much harder to recognize in most modern performances. It turns out that it owes a great deal to ordinary single-chorus technique, and thus is closely related to typical passion repertory. Large number of singers, do indeed look equal.īut in light of what we know about the forces Bach used in his own performances, we need to ask ourselves what it really means to call this work a double-chorus composition. Seen from a distance, the two ensembles, each visually dominated by a Of modern performances that use distinct soloists and two large choirs. Matthew PassionĪs a symmetrical double-chorus work has arisen largely from the experience The idea that the work balances two matched ensemblesĪgainst each other - a feature typically regarded as "symmetry"-has itselfīeen a theme of almost every discussion. Matthew Passion is that it is a double-chorusĬomposition, and this scoring is widely considered its most characteristic The one thing everybody knows about the St. ![]()
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