Evangelist (Bach): Difference between revisions
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==The Fifth Evangelist== |
==The Fifth Evangelist== |
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Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.<ref>[http://www.christianitytoday.com/ct/2000/julyweb-only/52.0c.html Christian History Corner: The Fifth Evangelist] in Christianity Today, 2000</ref> In 1929 the Swedish bishop [[Nathan Söderblom]] had called Bach's |
Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.<ref>[http://www.christianitytoday.com/ct/2000/julyweb-only/52.0c.html Christian History Corner: The Fifth Evangelist] in Christianity Today, 2000</ref> In 1929 the Swedish bishop [[Nathan Söderblom]] had called Bach's cantatas the Fifth Gospel.<ref>Uwe Siemon-Netto: [http://www.atlantic-times.com/archive_detail.php?recordID=386 Why Nippon Is Nuts About J.S. Bach. The Japanese yearn for hope.]atlantic-times.com 2005</ref><ref>Birger Petersen-Mikkelsen, Praedicatio sonora. Musik und Theologie bei Johann Sebastian Bach, in: Kirchenmusik und Verkündigung - Verkündigung als Kirchenmusik. Zum Verhältnis von Theologie und Kirchenmusik, Eutiner Beiträge zur Musikforschung 4, Eutin 2003, S.45-60: 47 {{de icon}}</ref> |
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==See also== |
==See also== |
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Revision as of 13:34, 1 June 2011
The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative, namely in the works St John Passion, St Matthew Passion, and the Christmas Oratorio, also in the St Mark Passion and the Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11.
In contrast, the Vox Christi, Voice of Christ, is always the bass in Bach's works, including several cantatas.
Music and sources
The Evangelist reports in secco recitatives accompanied by basso continuo only.
In the St John Passion the story consists of chapters 18 and 19 of John the Evangelist, the St Matthew Passion tells the complete chapters 26 and 27 of Matthew the Evangelist. The first versions of the St. John Passion contained two additional lines from Matthew mentioning the weeping of the disciple Peter and the tearing of the temple curtain, dramatic situations that Bach cared about. He composed the weeping in an expressive melisma and the tearing in a forceful downward run followed by tremolo, but removed the parts in later versions.
The Christmas Oratorio follows Luke the Evangelist for parts 1 to 4, and St. Matthew for Parts 5 and 6. A St Mark Passion after Mark the Evangelist is lost, but has been reconstructed by several scholars. In the Ascension Oratorio the story is compiled verse by verse from different biblical sources. The Easter Oratorio is an exception, as a play of four biblical characters without narration.[1]
Evangelist singers
Some tenors are known especially for their rendition of the Evangelist, including:
- Theo Altmeyer
- Gervase Elwes
- Karl Erb, mentioned in Thomas Mann's novel Doctor Faustus as Erbe (in English: Heritage)
- Kurt Equiluz
- John van Kesteren
- Peter Pears
- Christoph Prégardien
- Peter Schreier
- James Taylor
- Steuart Wilson
The Fifth Evangelist
Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.[2] In 1929 the Swedish bishop Nathan Söderblom had called Bach's cantatas the Fifth Gospel.[3][4]
See also
References
- ^ Alfred Dürr. 1971. "Die Kantaten von Johann Sebastian Bach", Bärenreiter 1999, ISBN 3-7618-1476-3 (in German)
- ^ Christian History Corner: The Fifth Evangelist in Christianity Today, 2000
- ^ Uwe Siemon-Netto: Why Nippon Is Nuts About J.S. Bach. The Japanese yearn for hope.atlantic-times.com 2005
- ^ Birger Petersen-Mikkelsen, Praedicatio sonora. Musik und Theologie bei Johann Sebastian Bach, in: Kirchenmusik und Verkündigung - Verkündigung als Kirchenmusik. Zum Verhältnis von Theologie und Kirchenmusik, Eutiner Beiträge zur Musikforschung 4, Eutin 2003, S.45-60: 47 Template:De icon