Moon and light are quenched for sorrow, because my Jesus is captured. They lead him away, he is bound. Chorus: Loose him, halt, bind him not! Then, immediately following, the basses , and then the tenors , and then the altos , and finally the sopranos of both choruses sing,.
Sind Blitze, sind Donner in Wolken verschwunden? Which means, Have lightnings, have thunder vanished in the clouds? Open your fiery pit, O Hell, wreck, ruin, engulf, shatter with sudden rage, the false betrayer, the murderous blood.
source url The emphasis, incidentally, is not mine, but represents where both choruses are singing together, and the effect can be heard clearly in the music. So Bach has his own musical interpretation layered over the actual Passion itself. Of course, even in the Gospel readings he has interpreted it simply by setting it to music, emphasizing some parts musically.
This allows Bach's musical genius to illuminate and elucidate the text. It also allows Bach to exercise the full range of his talent, for the Passion exhibits almost the full range of human emotional experience. However, the Passion is, ultimately, a downer. It ends with the death and burial of Jesus.
The Passion is meant to be played on Good Friday , which is of course a very sad day for Christians , because this is the day Jesus was Crucified. Thus the Passion ends on a sour note literally: the final chord is a C-minor seventh chord. When it was first performed it shocked many of the listeners, who thought it was inappropriate for instrumental music to be played in church, especially on Good Friday. The piece is rarely performed in church at all anymore, however, and is generally only heard by itself as a musical performance instead of a spiritual experience , though of course one has a greater chance of hearing it performed on or at least near Good Friday than on any other day of the year.
The exordium of the Passion begins in E-minor. Both Choruses are singing, sometimes together, and sometimes in 8-part polyphony , but most of the time it is Chorus I that is singing. They sing, "Come, ye Daughters, help me lament. Look at him! Chorus I sings the imperatives , and Chorus II the interrogatives. In this way the piece resembles a dialogue between two groups of people whose identity is unclear.
It is interesting to note, though, that in Matthew 25 , just before the text with which we are about to begin the Passion, there is the parable of the brides and the lamps. At this point the Treble Chorale , or boy's choir, begins to sing a hymn.
The hymn and the melody for it were not written by Bach, but were already well known to most by that time. The overlay of a major melody on minor polyphony is very surprising. It is actually true that Bach's use of accidentals and chromatic tones caused him to switch in and out of the major and minor modes quite often. This would be used later, along with several philosophical musings by Goethe , by Webern and others to justify the rejection of the tonic chord and the cadence.
Regardless of how it was used later, Bach uses it with skill and the effect is quite haunting. After the exordium is the first recitative, or reading of the Gospel text. This and the three following pieces are basically the prophecy of the crucifixion. The second part of this, Herzliebster Jesu , is a chorale.
Bach's chorales are very famous, because there are so many and because he was so adept at them. In the Passion there are several chorales, and they sometimes share a melody , but differ greatly in the harmony. In this way Bach is able to tie together two parts of the Passion, and not sacrifice emotive power. The chorales are, additionally, not technically part of the passion according to St.
Matthew as found in the Bible and composed by other musicians. They are an integral part of the Passion, though.
They interrupt the text with a reflection of it. My best guess is that they are supposed to give voice to what the audience is thinking and feeling at the time, and indeed some performances of the Passion have the audience sing the chorales. Herzliebster Jezu responds to Jesus's prophesy with, "Beloved Jesus, what is your offense, that they have pronounced so harsh a judgment? According to this interpretation, he was. The priests then assemble and plot when they might put Jesus to death, but they decide not to do it on the day of the feast.
The next five parts deal with the anointing in Bethany. This is when Jesus was anointed with oil by a woman, with whom his disciples grew angry, because the oil could have been sold and the profit given to the poor, but Jesus says, "Why trouble ye the woman? For in that she hath poured this ointment on my body, she did it for my burial. After this is an aria, "Repentance and Remorse," which is also an alto-flute duo.
Jesus Christ knew what was ahead. For both innovations there is early sanction; for the first, a text of ; for the second, a text of In Dr. We are drawn, therefore, to search for a period of exceptional leisure in which Bach was free to sketch and partly write a lengthy work which in after years he never attempted to complete. My thoughts would have taken a serious turn, but I was not alone.
The text of the aria is, "Repentance and remorse grinds the sinful heart to pieces, may the drops of my weeping a welcome adornment, faithful Jesus, bear to Thee. The alto anoints Jesus with her tears, which in turn are engendered by her repentance for her sins, and her remorse for being sinful.
The anointments are, like the oil in the story, for Jesus's burial. The next two are a recitative reading of the text and an aria. These are about Judas, and his agreement to betray Jesus. The aria seems to be singing either to Jesus or Judas's mother, which sounds odd, but these are the words: "By all means bleed, Thou dear heart! Alas, a child that Thou raised, that suckled at Thy breast threatens to murder his guardian for he has become a serpent.
With part 13 we begin the Last Supper. It is in the middle of this supper when Jesus reveals that one of them will betray him.
The chorus immediately sings a confusing polyphony of "Herr, bin ich's? Of course then in 17 Judas asks, and Jesus replies, "Du sagest's," You have said it. The latter half of 17 is reserved for the breaking of the bread and the first communion. Jesus's part here is interesting, because usually during the recitatives he and everyone else are not very metered. Here, he has a definite rhythm and the music becomes almost dance-like. The recitative and the aria, sung by sopranos, that follow this expound on the sacrament.
Every morning I shall concern myself anew about the boundary Between the love- deed -Yes and the power -deed-No And pressing forward honor reality. We cannot avoid Using power, Cannot escape the compulsion To afflict the world , So let us, cautious in diction And mighty in contradiction , Love powerfully. Excuse me I'm sorry to bother you, But don't I know you? There's just something about you. Haven't we met before? Years, ye shall mix with me! Ye shall grow a part Of the laughing Sea ; Of the moaning heart Of the glittered wave Of the sun-gleam's dart In the ocean-grave.
Fair, cold, and faithless wert thou, my own! For that I love Thy heart of stone! From the heights above To the depths below, Where dread things move,. There is naught can show A life so trustless! Proud be thy crown! Ruthless, like none, save the Sea, alone! And pray that a wreath like a rainbow May slip from the beautiful past, And Crown me again with the sweet, strong love And keep me, and hold me fast. The light came through the window, Straight from the sun above, And so inside my little room There plunged the rays of Love. The daily actions of religious people have accomplished uncounted good deeds throughout history, alleviating suffering, feeding the hungry, caring for the sick.
Religions have brought the comfort of belonging and companionship to many who would otherwise have passed through this life all alone, without glory or adventure. They have not just provided first aid, in effect, for people in difficulties; they have provided the means for changing the world in ways that remove those difficulties. As Alan Wolfe says, "Religion can lead people out of cycles of poverty and dependency just as it led Moses out of Egypt".
There is much for religion lovers to be proud of in their traditions, and much for all of us to be grateful for. The fact that so many people love their religions as much as, or more than, anything else in their lives is a weighty fact indeed. I am inclined to think that nothing could matter more than what people love. At any rate, I can think of no value that I would place higher.
I would not want to live in a world without love. Would a world with peace, but without love, be a better world? Not if the peace was achieved by drugging the love and hate out of us, or by suppression. Biblioteka Evergrin 5.
Biblioteka Od deset do stodeset 4. Biblioteka Ferretske kronike 3. Hit 3. Zagreb London 8. Beograd 3. Los Angeles 3. Za posudbu. Wiedl, Sopran Concerto grosso op. Concerto grosso, op.