Of the three Bang on a Can founder composers, David Lang’s music has always been the glassiest, the sparest, and for some listeners the most precious. In recent years, his aesthetic has become leaner still, paring down already simple material to gaunt extremes in something approaching neo-plainchant. The national anthems (note the lower case; nothing vainglorious here ) takes fragments of text from the anthems of all 193 United Nations member states and unfolds at speaking speed, with plenty of room for breaths between phrases and plenty of clarity to the words. It has the feel of sad and eerie intoning. The Los Angeles choir clinches the right sound for Lang – unflinching, spellbound – while the Calder Quartet gives sleek accompaniment. Also on the disc is a new choral version of Lang’s little match girl passion, the piece originally for four voices that won him the Pulitzer prize in 2008 and which, in the mouths of many, becomes a sort of collective prayer in the congregational tradition of Bach’s chorales.
Ce livre décline l'excès, la démesure, la transgression de la passion amoureuse. Psychanalystes, historiens, critiques littéraires et artistes y traquent les multiples facettes de l'amour pour s'approcher des mystères de la passion.
La passion porte l'état amoureux à une jouissance hors limite, hors temps, hors langage. Mais, si l'amour est plus important que morale, pouvoir, savoir, patrie, est-il possible d'aimer autrement qu'avec passion ? Et que devient la passion amoureuse dans la cure psychanalytique ? …
The existence of a third Passion by Bach based on the Gospel of St. Mark had long been known. Numerous studies carried out from the second half of the 20th century by specialist musicologists and musicians confirmed that on Good Friday, 1731, Bach presented this Passion set to a text by Picander, which the latter published one year later at the same time as his third volume of poetry. In 2009, the existence of this Passion was fully confirmed by the discovery at St. Petersburg of a later version of the libretto used for a new performance of the work, which took place in 1744. Compared with the 1732 libretto, it contains a number of modifications to the texts, as well as a different ordering of some chorales and arias and the addition of two new arias. Thanks to the new version, we have a very clear idea of the form and content of this third Passion by Bach.
Georg Philipp Telemann's St. Matthew Passion was composed for Holy Week in 1746 and was probably performed at least ten times in the five main churches in Hamburg, as well as in other neighbouring churches.
Telemann sets the Passion story to music in the French style. As a whole, there is a French-orientation of the recitative, and Italian melodiousness of the arias, and also influences of German oratorio tradition. All the result of Telemann's uninterrupted search for a 'true' and 'genuine' church music.
In contrast to Bach's St. Matthew Passion, Telemann's version ends with the death of Jesus.
This is an important document, not least because what is actually captured on these discs is the first performance of this work since 1772. The score is presently housed in the archive of the Berlin Sing-Akademie after its discovery in the Ukraine. C.P.E.’s version of the Christ story is a dynamic one, with plenty of drama and much interaction between the various soloists and the chorus - a chorus that represents the Jews as well as performing the chorales.
Hermann Max's recording of J. S. Bach: Matthaus Passion with the Rheinische Kantorei and Das Kleine Konzert embodies current orthodoxy in most respects: two choirs of 16 voices each are partnered by two orchestras of comparable size, with period instruments sounding at low (Baroque) pitch; tempos are mostly quite sprightly and textures light; ornamentation is sparing and discreet, but cadential appoggiaturas in the recitatives are mostly in place (though the latest fashion seems to be increasingly to omit them). Christoph Pregardien and Klaus Mertens are ideally cast as the Evangelist and Jesus: precise in diction, judicious in expression. The other soloists are more variable.