Bach's Twin "Tombeaux" of 1727
SPONSORED BY DON HAYNIE & TOM HAMLIN
Music historian Jon Gibson has a particular interest in 17th and 18th century music, and his understanding of related musical forms and genres brings special insight to Bach's sacred works. In this Perspective, Jon reveals connections between Bach's Trauerode and the aria "Komm, süsses Kreuz" from the St. Matthew Passion, both composed in 1727, and the broader tradition of musical memorials or tombeaux.
Jonathan Gibson specializes in music of the Baroque era, primarily the music of late seventeenth-century France. His research interests include musical aesthetics and criticism, performance practice, and the relationships between music and rhetoric. His recent publications include “Hearing the Viola da Gamba in Komm, süsses Kreuz.” Jon is a frequent presenter at national and international conferences. At James Madison University, he teaches graduate and undergraduate courses in music history, ethnomusicology, and historical performance practice. Jon also founded and directs the University’s early music ensembles and plays viola da gamba.
As part of the festival's first complete period-instrument performance of Bach's magisterial St. Matthew Passion, bass-baritone John Taylor Ward sings the recitative and aria "Komm, süsses Kreuz" accompanied by lutenist David Walker.
In 2019 the festival once again presented the complete St. Matthew Passion. In this video bass-baritone Will Doreza sings the beautiful recitative and aria " in the version accompanied by viola da gamba, wonderfully played by Anna Steinhoff.
During the 2018 season, festival musicians presented a complete, period-instrument performance of Bach's beautiful "Funeral Ode" in memory of Poland's Queen, for soloists, chorus and orchestra. In HD with accompanying program notes.
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