Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – J.S. Bach: St John Passion, BWV 245 (2015) [Official Digital Download 24bit/48kHz]

Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – J.S. Bach: St John Passion, BWV 245 (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 02:57:15 minutes | 1,76 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR Klassik

The definitive version of the ‘St John Passion’ by Johann Sebastian Bach, as performed every year in concert halls and churches around the world, does not exist – or, at least, cannot be found in Bach’s own performance materials. Over the last few decades, Bach researchers have removed much of the magic from a work we all believed was familiar, in several respects. It is neither an oratorio for soloists, choir and orchestra nor a self-contained work with a fnal manuscript version. The Cantor of St Thomas did embark on such a version in 1739. 15 years after the frst performance he started making a meticulous fair copy of the score and coupled it with a thorough revision – but he suddenly broke off this new copy towards the end of the frst part, just before the chorale Wer hat dich so geschlagen (no. 11). It was only years later that he had a copyist complete it, but Bach never transferred the new versions of movements one to ten into his performance material.

As a result, the alto aria Von den Stricken meiner Sünden (no. 7), for example, in the version we are accustomed to hearing today with lots of syncopation in the oboes and written-out ornamentation in the alto voice, was never conducted by Bach himself. Nevertheless, in 1974, the Bach researcher Arthur Mendel decided to print the ‘St John Passion’ in the ‘New Bach Edition’ with the movements that Bach had revised. When the work is performed in this edition today, therefore, it is heard in a version that never existed in Bach’s own performances. This fact has prompted some representatives of historically informed performance practice to orient themselves precisely to a specifc version by Bach instead of performing a compiled version, which is the general practice today. The ‘1725 Version’ is also a familiar term to music lovers: since, on the orders of the Leipzig city council Bach had been obliged to premiere the ‘St John Passion’ in the uncomfortable Church of St Nicholas in 1724, he was desperate to have the work presented to the faithful just one year later in St Thomas’s Church. To do this, he made changes to ft the Passion into his so-called ‘Chorale Cantata Year’ which he completed just before Easter 1725. He exchanged the opening chorus Herr, unser Herrscher for the chorale chorus O Mensch, bewein dein Sünde groß (familiar to us today from the ‘St Matthew Passion’, where it ended up eleven years later) and, in the 1725 version of the ‘St John Passion’, he also decided to add two new tenor arias. An additional bass aria with chorale and the figured chorale fnale Christe, du Lamm Gottes seemed to have given the work a new personality.
Later, Bach returned to the framework choruses and arias that are familiar to us today. For the last performance of the Passion in 1749, he must have been obliged to make extensive revisions to the text, because some of the metaphors in the original aria texts were considered too drastic by theologians of the Enlightenment. For example, the tenor aria Erwäge, wie sein blutgefärbter Rücken in allen Stücken dem Himmel gleiche geht (no. 20) was replaced by the new and far simpler text Mein Jesu, ach! Dein schmerzhaft bitter Leiden bringt tausend Freuden. It is possible that the theological objections to the text of the ‘St John Passion’ had already led to a crisis ten years earlier: There is proof that in the year 1739, the Passion performance for Good Friday was forbidden. Might this explain Bach’s sudden abandonment of the new score version? From all this it is quite clear that Bach did not devote the same painstaking care to a fair copy of the ‘St John Passion’ as he did with the ‘St Matthew Passion’, but changed it from one performance to the next. We know that the same applies to the lost ‘St Mark Passion’ of 1731, which Bach re-performed in 1744 with two additional arias, as revealed by a libretto fnd in St Petersburg a few years ago.
Much more provocative for most Bach afcionados than the version issue was the theory presented by the American researcher Joshua Rifkin in the 1980s, according to which Bach had not used a ‘chorus’ in the usual sense at all for his Passions but merely a vocal ensemble made up of eight singers. In the ‘St Matthew Passion’ he used these two quartets of soloists as a double choir; in the ‘St John Passion’ he divided them up into a quartet of soloists and a so-called ripienista quartet, whereby the latter was used only to reinforce the choir sections. The main onus of his performances was on the four soloists. They sang all the movements for their vocal range; for the Evangelist this meant, for example, that in addition to his long recitatives he also had to sing in the opening and fnal choruses, all the chorales and choruses, as well as the two tenor arias, and the singer of Jesus also had to sing in all the choirs and the bass arias. More than eight singers, according to Rifkin, had never performed in Bach’s choral settings under his direction, and four of them were identical to the soloists. However puzzling this theory may have been back then, it is now very hard to refute – because it corresponds to what was found in Bach’s performance materials! Incidentally, even Bach’s son Carl Philipp Emanuel performed his Hamburg Passions with a total of eight singers, and they also included essential parts of his father’s ‘St John Passion’. This became evident in the Bach year of 2000 when the music collection of the Berliner Singakademie was returned from Kiev to Berlin and a systematic evaluation of the performance materials of Bach’s son began.
Meanwhile, historical performance practice has followed suit: In recent decades, numerous performances and recordings have furnished proof that the ‘St John Passion’ can certainly be convincingly performed with eight singers instead of 40 or 80, and furthermore without any separation between soloists and ‘chorus’. Bach would have considered today’s division between soloists at the front and the chorus behind them as odd anyway. It dates from the 19th-century understanding of the oratorio and did not correspond to Bach’s idea of a ‘chorus’ which, in his day, always meant a self-contained ensemble of voices and orchestra – of relatively few, mainly solo voices, and a reasonably small orchestra. Again and again, Bach fercely and stubbornly promoted this understanding of a chorus as an optimal ensemble for his church pieces to the Leipzig city council – a city council that granted him a total of just eight salaried orchestral players to perform his Passions. At the same time, the city councillors threatened to cut the temporary fees for students whom Bach urgently needed to replenish his orchestra, and also as singers for the parts of the Evangelist and the solo bass. The only authentic portrait of Bach that has come down to us in two versions – the one by Elias Gottlob Haussmann from 1748 – clearly reveals traces of the struggles the composer had with the city authorities. The man looking at us here from beneath bushy eyebrows, through two screwed-up, almost suspicious brown eyes, had fought all his life for music – in the face of city councillors desperate to save money, education reformers in the Thomas School, and many other opponents. Is it really the same musician we encounter in a pastel painting of the 18th century (see page 2) with sky-blue eyes, a hooked nose and a jovial smile on his far thinner lips? The experts in the Bach Haus in Eisenach believe it is. One year ago, in March 2014, they proudly presented the pastel image from the Manfred Gorke collection that had already been identifed in 1936 as a Bach portrait. It was apparently the lost pastel painting of his father that Carl Philipp Emanuel Bach had kept like a treasure. The provenance of the pastel that has now been presented is unclear, so its authenticity is purely hypothetical. Everyone who sees it should form their own opinion. — Karl Böhmer; Translation: David Ingram

Tracklist:

1. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Herr, unser Herrscher (Chorus) (07:50)
2. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Jesus ging mit seinen Jungern (Evangelist) (01:02)
3. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Jesum von Nazareth (Chorus) (00:09)
4. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Jesus spricht zu ihnen (Evangelist, Jesus) (00:32)
5. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Jesum von Nazareth! (Chorus) (00:09)
6. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Jesus antwortete (Evangelist, Jesus) (00:23)
7. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: O grosse Lieb (Chorus) (00:57)
8. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Auf dass das Wort erfullet wurde (Evangelist, Jesus) – Strecke dein Schwert in die Scheide! (Evangelist, Jesus) (01:04)
9. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Dein Will gescheh, Herr Gott, zugleich (Chorus) (00:50)
10. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Die Schar aber und der Oberhauptmann (Evangelist) (00:43)
11. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Aria: Von den Strikken meiner Sunden (Alto) (04:25)
12. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Simon Petrus aber folgete Jesu nach (Evangelist) (00:14)
13. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Aria: Ich folge dir gleichfalls (Soprano) (03:30)
14. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Derselbige Junger war (Evangelist) – Bist du nicht dieses Menschen Junger einer? (Chorus) – Ich bin’s nicht! – (Evangelist, Magd, Petrus) (02:59)
15. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Wer hat dich so geschlagen (Chorus) (01:40)
16. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Und Hannas sandte ihn gebunden (Evangelist) (00:19)
17. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Bist du nicht seiner Junger einer (Chorus) (00:18)
18. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Recitative: Er leugnete und sprach (Evangelist, Petrus, Diener) (01:26)
19. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Aria: Ach, mein Sinn, wo willt du endlich hin (Tenor) (02:25)
20. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 1: Part I: Chorale: Petrus, der nicht denkt zuruck (Chorus) (01:17)
21. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Christus, der uns selig macht (Chorus) (01:05)
22. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Da fuhreten sie Jesum – Was bringet ihr (Evangelist, Pilatus) (00:37)
23. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Ware dieser nicht ein Ubeltater (Chorus) (00:56)
24. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Da sprach Pilatus sprach zu ihnen (Evangelist, Pilatus) (00:10)
25. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Wir durfen niemand toten (Chorus) (00:35)
26. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Auf dass erfullet wurde das Wort Jesu (Evangelist, Pilatus, Jesus) (01:43)
27. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Ach grosser Konig (Chorus) (01:26)
28. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Da sprach Pilatus zu ihm – So bist du dennoch – Was is Wahrheit? (Evangelist, Jesus, Pilatus) (01:20)
29. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Nicht diesen, sondern Barrabam (Chorus) (00:09)
30. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Barrabas aber war ein Morder (Evangelist) (00:30)
31. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Arioso: Betrachte, meine Seel (Bass) (02:12)
32. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Aria: Erwage, wie sein blutgefarbter Rucken (Tenor) (07:50)
33. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Und die kriegsknechte flochten (Evangelist) (00:16)
34. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Sei gegrusset, lieber Judenkonig (Chorus) (00:31)
35. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Und gaben ihm Backenstreiche (Evangelist, Pilatus) (00:57)
36. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Kreuzige, kreuzige (Chorus) (00:47)
37. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Pilatus sprach zu ihnen (Evangelist, Pilatus) (00:15)
38. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Wir haben ein Gesetz (Chorus) (01:07)
39. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Da Pilatus das Wort horete (Evangelist, Pilatus) (01:20)
40. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Durch dein Gefangnis, Gottes Sohn (Chorus) (00:54)
41. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Die Juden aber schrieen (Evangelist) (00:04)
42. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Lassest du diesen los (Chorus) (01:09)
43. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Da Pilatus das Wort horete (Evangelist, Pilatus) (00:40)
44. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Weg, weg mit dem (Chorus) (00:53)
45. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Spricht Pilatus zu ihnen (Evangelist, Pilatus) (00:11)
46. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Wir haben keinen Konig (Chorus) (00:09)
47. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Da uberantwortete er ihn (Evangelist) (00:52)
48. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Aria: Eilt, ihr angefochtnen Seelen (Bass) – Eilt – Wohin? (Chorus) (03:41)
49. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Allda kreuzigten sie ihn (Evangelist) (01:12)
50. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Schreibe nicht: der Juden konig (Chorus) (00:31)
51. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Pilatus antwortet (Evangelist, Pilatus) (00:16)
52. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: In meines Herzens Grunde (Chorus) (01:00)
53. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Die Kriegsknechte aber (Evangelist) (00:36)
54. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Lasset uns den nicht zerteilen (Chorus) (01:20)
55. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Auf dass erfullet werde die Schrift (Evangelist, Jesus) (01:38)
56. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Er nahm alles wohl in acht (Chorus) (01:10)
57. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Und von Stund an – Mich durstet! (Evangelist, Jesus) (01:30)
58. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Aria: Es ist vollbracht (Alto) (05:02)
59. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Und neigte das Haupt und verschied (Evangelist) (00:26)
60. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Aria: Mein teurer Heiland (Bass) – Jesu, der du warest tot (Chorus) (04:11)
61. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Und siehe da, der Vorhang (Evangelist) (00:31)
62. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Arioso: Mein Herz, indem die ganze Welt (Tenor) (00:48)
63. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Aria: Zerfliesse, mein Herze (Soprano) (06:34)
64. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Die Juden aber (Evangelist) (01:58)
65. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: O hilf, Christe, Gottes Sohn (Chorus) (01:03)
66. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Recitative: Darnach bat Pilatum (Evangelist) (01:59)
67. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Ruht wohl, ihr heiligen Gebeine (Chorus) (06:51)
68. Chor des Bayerischen Rundfunks, Concerto Köln, Peter Dijkstra – Johannes-Passion, BWV 245, Pt. 2: Part II: Chorale: Ach Herr, lass dein lieb Engelein (Chorus) (01:56)
69. None – Wege zur Musik aus der Johannes-Passion, Pt. 1 ‘Fragen und Fragmente’: Teil 1, ‘Fragen und Fragmente’: Darum lerne dieses Bild wohl (04:55)
70. None – Wege zur Musik aus der Johannes-Passion, Pt. 1 ‘Fragen und Fragmente’: Teil 1, ‘Fragen und Fragmente’: Das unvollendete Werk (04:39)
71. None – Wege zur Musik aus der Johannes-Passion, Pt. 1 ‘Fragen und Fragmente’: Teil 1, ‘Fragen und Fragmente’: Exordium. Ein Einleitungschor als Appell (07:44)
72. None – Wege zur Musik aus der Johannes-Passion, Pt. 1 ‘Fragen und Fragmente’: Teil 1, ‘Fragen und Fragmente’: So genannte Passionen (04:21)
73. None – Wege zur Musik aus der Johannes-Passion, Pt. 1 ‘Fragen und Fragmente’: Teil 1, ‘Fragen und Fragmente’: … und alsobald krahete der Hahn (04:03)
74. None – Wege zur Musik aus der Johannes-Passion, Pt. 2 ‘Vorbilder und Verpflichtungen’: Teil 2, ‘Vorbilder und Verpflichtungen’: Der neue Thomaskantor (06:12)
75. None – Wege zur Musik aus der Johannes-Passion, Pt. 2 ‘Vorbilder und Verpflichtungen’: Teil 2, ‘Vorbilder und Verpflichtungen’: Vorbild Brockes-Passion (03:08)
76. None – Wege zur Musik aus der Johannes-Passion, Pt. 2 ‘Vorbilder und Verpflichtungen’: Teil 2, ‘Vorbilder und Verpflichtungen’: Allegorien und theologische Grundsatzfragen (04:51)
77. None – Wege zur Musik aus der Johannes-Passion, Pt. 2 ‘Vorbilder und Verpflichtungen’: Teil 2, ‘Vorbilder und Verpflichtungen’: Wer singt, betet doppelt (08:08)
78. None – Wege zur Musik aus der Johannes-Passion, Pt. 3 ‘Bilder und Symbole’: Teil 3, ‘Bilder und Symbole’: Ambitionen und Enttauschungen (03:13)
79. None – Wege zur Musik aus der Johannes-Passion, Pt. 3 ‘Bilder und Symbole’: Teil 3, ‘Bilder und Symbole’: Instrumente als Sinnbild (06:10)
80. None – Wege zur Musik aus der Johannes-Passion, Pt. 3 ‘Bilder und Symbole’: Teil 3, ‘Bilder und Symbole’: Figuren und Sieben Freie Kunste (06:32)
81. None – Wege zur Musik aus der Johannes-Passion, Pt. 3 ‘Bilder und Symbole’: Teil 3, ‘Bilder und Symbole’: Das Symbol des Kreuzes (03:24)
82. None – Wege zur Musik aus der Johannes-Passion, Pt. 3 ‘Bilder und Symbole’: Teil 3, ‘Bilder und Symbole’: Eine Bibel aus Amerika (04:10)

Download: