Charles marie widor pronunciation of biblical names
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The Big Join up of Names
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St Matthew Passion
1727 sacred oratorio by Johann Sebastian Bach
For other uses, see St Matthew Passion (disambiguation).
| St Matthew Passion | |
|---|---|
Title page of Bach's autograph score | |
| Native name | Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum |
| Related | BWV 244a |
| Occasion | Good Friday |
| Text | |
| Performed | 11 April 1727 (1727-04-11): Leipzig |
| Scoring |
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The St Matthew Passion (German: Matthäuspassion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets the 26th and 27th chapters of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of Baroquesacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord Jesus Christ according to the Evangelist Matthew".[1]
History
[edit]The St Matthew Passion is the second of two Passion settings by Bach that have survived in their entiret
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Endless Breath? The Pipe Organ and Immortality
To contemplate this progress of the greatest of musical instruments with full instruction, it must be remembered that in a development necessitating artificial and consequently wind supplies of fixed pressures, the chief source of natural expression in a wind instrument as secured by the varying breath of the performer was lost to the organ. This disaster became in the end the source of its glorious development, by challenging man’s ingenuity to the utmost, in the production of a vast and complicated mechanism by which natural expression was to be attained, through a multiplicity of artificial appliances.
‘Brindley and Foster’,
The New Monthly Magazine, 122 (February 1883), 261–67 (261).1
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As everyone knows, reading aloud—poetry, drama, prose—requires us to accommodate the limited capacity of our lungs. It is no good to run out of breath mid-sentence or to breathe in a place that breaks or even changes the sense. This is equally true of words to be sung. The first version in the first edition of Hymns, Ancient and Modern (1861) of Frances Elizabeth Cox’s Easter hymn—a translation from Christian Fürchtegott Gellert—collapses if a breath is taken at the end of the first line: ‘Jesus lives! no longer no