Organization

Conductor

Leonardo García Alarcón

Soprano

Mariana Flores

Marianne Beate Kielland

contralto

Paulin Bündgen

Alto

Tenor

Julian Prégardien

Bass

Andreas Wolf

Chorus master

Thibaut Lenaerts

Others

Chœur de Radio France

Musiciens de l’Orchestre Philharmonique de Radio France

Orchestre National d'Île de France

Bach: Mass in B minor BWV 232

Bach: Mass in B minor BWV 232: Mass in B minor Bach,JS

Public

Mass in B minor, BWV 232

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Saxophonist

Trombonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Mezzo-soprano

Contralto

Baritone

Countertenor

Bass-baritone

Spoken

Child vocalist

Silent

Continuo

A life's work? Literally. The gestation of the Mass in B minor spanned thirty-five years, from 1714 to 1749, and continued well after the death of the composer Johann Sebastian Bach in 1750.  
In 1724, Bach himself conducted one of the movements of the Sanctus for 6-voice choir and orchestra, on Christmas Day at St. Thomas Church in Leipzig. Ten years earlier, in 1714, in Weimar, he had composed his Cantata BWV 12 " Weinen, Klagen, Sorgen, Zagen ", the overture of which would become the " Crucifixus " of the Mass in B minor , one of the emotional peaks of the entire mass. 
All his life, Bach composed, without knowing it, fragments of his immense Mass in B minor concealed in his cantatas: the “ Laudamus te ” comes from his Cantata BWV Anh. I 14 “ Sein Segen fliesst daher wie ein Strom ” (1725), the “ Et expecto ” comes from the Cantata BWV 120 “ Gott, man lobet dich in der Stille ” (1730), etc. This Mass in B minor is the fruit of the so-called principle of parody: applying new words to music that was thought for other words. This principle was frequently used, and it was only after Bach that the concept of musical parody, or even revival, appeared in an unfavorable light.

English

Bach: Mass in B minor BWV 232 by Bach, J. S., Minn (2019/2019), Surmast Direttur Leonardo García Alarcón

Krediti ta' prestazzjoni (Il-Kast & l-Ekwipaġġ )

Kast

Ekwipaġġ

Ensemble

Programm, Dwar & Sinossi

Ritratti

Aktar qari

Dati u Postijiet ta' Prestazzjoni

Postijiet