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And so, as the work progresses, the sections of biblical narrative continue to be markedly uneven in length.

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Their length is usually determined more by the poignant urgency of their message of suffering and salvation than by actual events. The path begins in the opening chorus with the processional dance of the crowd up the hill to Golgotha, and ends with the chorus of mourning beside the sealed tomb. Each stoppingpoint along this path offers an invitation to meditate on the monstrosity of what is happening, on its root cause in the fallen nature of mankind, as also on its inherent promise of salvation and redemption.

Nevertheless, it is structured according to the Stations of the Cross. After the opening chorus the Passion narrative in Part I continues in twelve further sections, and in fifteen more in Part II after the new opening aria with chorus discussed above , ending with the entombment and the final chorus of mourning.

That makes a total of twenty-eight sections: remarkably enough, exactly double the regular number of Stations of the Cross. Dialogic Aria and Chorus: Ach, nun ist mein Jesus hin.

Modalities: Three Chorales from Bach's St. Matthew Passion: Cheap Grace, Costly Grace

Evangelist: Jesus accused of blasphemy, spat upon and struck — Chorale: Wer hat dich so geschlagen. Numbers, numerical values and proportions carried meaning; they were signifiers. In the Renaissance and early modern era numerological science entered with new intensity into philosophy and aesthetics, whence it found widespread application in the arts.


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As is demonstrable from the St Matthew Passion, Bach deployed his knowledge and understanding of numbers to the art of composition according to his self-understanding as creator and composer. Part II, in contrast, configures in two different ways a musical proportion richly semanticised in numerological tradition: the double octave. A double octave has on the one hand fifteen steps, arranged symmetrically around a central tone counted once: there are fifteen Stations in Part II of the St Matthew Passion.

Yet added one to another, two octaves yield sixteen tones, which match the totality of segments in Part II, including its opening aria with chorus.

Herr, Du bist mein guter tyruvyvizo.cf

As numerological configuration the double octave not only relates to the fifteen Stations; it also has transcendental meaning. Traditionally the perfect unison double-octave proportion 1: 2 expresses the relationship between creation and creator. The second part of the St Matthew Passion translates the truth and certainty of belief into the architecture of musical composition.

Perfect numbers are so called because the sum of their factors once more yields the number. In humble self-assurance he finally inscribed himself in the Passion as well, mirroring the relational proportions between creation and creator.


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  • The proportions 1: 2 of the double octave, transposed to the total number of Stations in the Passion, may also be expressed as The number signifies the name. As we can now see, Bach left his signature in his Great Passion, inscribed as the number of his own name.


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    Bach Cantata Translations

    Search inside the book. Table of contents. Cite Share. Cited by. Text Notes. From his source studies, Vogel draws the essential conclusion that performance practice should make less use of the tutti and more of "registrations with few stops" and "a great variety of tone colors.

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    Mist floating above the water New England Triptych :. Todd Veteran member Posts: Boris Bloch's Benediction. The opening three notes set the stage for a slow and generally poetic take.

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    The Moderato slowly builds to a most satisfying climax, with an accented arpeggio right at the end of it, with the whole thing sounding like contained rapture, and the music that follows is supremely controlled in terms of tempo and dynamic tapering, with Bloch then pausing for just the right amount of time before the last note. The Andante section is slow and contemplative and lovely, if a bit heavy, and it transitions seamlessly to the Piu sostenuto, which goes for the elevated, transcendent style.

    Bloch does a good job maintaining a slow tempo, though when he speeds up slightly, the transition can be a bit noticeable. The rolled chords sound just splendid here, and when he starts to increase volume on the way to the powerful climax, it's a bit abrupt, but very striking.

    He lets the music ring out a bit before starting in on slow right hand runs that in overall impression sort of bring Wilhelm Kempff to mind in that one can get the impression that he's out there, doing his thing, and this is just how it should be, even if it shouldn't, and it's just fine. Bloch creates some nice strumming effects with a couple minutes to go, and the movement concludes on a serious note. Somewhat like Dalberto, this is not one of my favorite readings, but it must be taken seriously.

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